By Christy Hudson
Anyone with proficient knowledge of Greek mythology may know the story of Orpheus and Eurydice. However, Good Company Theatre’s production of Eurydice, written by Sarah Ruhl, might still feel unfamiliar. It is a retelling of the myth, but it is not set in ancient Greece, and it is told through the perspective of Eurydice instead of Orpheus.
Eurydice and Orpheus are two lovers who get married. Shortly after their wedding party, Eurydice finds herself in a dangerous situation, which ends up killing her. She then finds herself in the Underworld, but after being dipped in the river Lethe, she no longer has memory of her life. Her father, who avoided being dipped in the river and having his memories erased, sees her, but she does not recognize him. In fact, she is unable to speak English, and can only speak the language of the dead. The word “father” does not exist there, so he cannot explain to her plainly who he is. He then does what he can to remind her, and to make her understand he loves her.
Katie Evans stars as Eurydice, who is present onstage for almost the whole performance. Eurydice needs to have a wide range of emotions as she transitions from life to death, going through losing her memory to regaining it gradually. Evans portrays her emotions very effectively and is totally believable in the role. Eurydice’s father is played by Michael Solarez. I think he is the most tragic character in the show, because I think he is the one who gains and then loses the most. In Solarez’s portrayal, the grief and frustration the father feels are palpable. His performance as a father loving a daughter is simultaneously sweet and heartbreaking, and he is probably my favorite character.
Orpheus is played by Enrique Garibay, Eurydice’s widowed husband that she left behind in the mortal world. Orpheus is a famous composer and musician. He is also an introverted character, and he delivers his internal thoughts as letters to his deceased wife. Garibay has a lot of passion in his performance as he speaks of both music and of Eurydice. Although Orpheus and Eurydice are clearly very different from one another, it is easy to see why they still love each other so deeply.
The tone of the show, particularly in the parts that take place in the Underworld, is somewhat uncomfortable. It is not meant to feel natural or familiar. A few of the characters help this feeling become more intense. Joshua Robinson plays the antagonist, deemed in the program simply as Interesting Man. The word that immediately comes to mind as soon as he steps onstage is “creepy” (the character is supposed to be creepy. I don’t know Robinson in real life, but I’m sure he’s very nice). My roommate who accompanied me to the performance said of his portrayal: “I was genuinely concerned for my safety.” So, in the best possible way, I would say his presentation is convincing and effective.
Rounding off the cast are the three Stones: Little Stone (Seth Foster), Big Stone (Sydnie Schwarzwalder), and Loud Stone (McKalle Dahl). They serve as the chorus, helping explain the Underworld and the rules it follows. They are a little unsettling as they move and speak slowly and simultaneously. They are emotionless because, well, they’re stones. They say crying is not allowed in the Underworld, and at one point they tell Eurydice to “act like a stone.” Foster, Schwarzwalder, and Dahl are eerie, as well as kind of funny. It is probably a fun part to play, and they are quite entertaining.
Costume Designer Alicia Washington sort of had two time periods to portray. Well, I guess one time period, and then the timeless Underworld. The mortal world has a definite 1950’s vibe, and Eurydice’s look reminded me a bit of Marilyn Monroe. Meanwhile, in the Underworld, the Stones’ design is more Renaissance-esque. Most of the characters don’t change costume, although Eurydice at one point removes the party dress she died in, so she is in her undergarments (a full slip, so basically like a white dress).
The production is minimalistic, with no scene changes. Several of the actors are onstage for long periods of time, even when they are each at different settings. Some parts of the stage were in the land of the living, while others were in the land of the dead. Set Designer Emilio Casillas has placed the Underworld on the same level as the audience. The mortal world is on higher platforms in the back. The are connected by a ramp, which acts as a road between the two worlds. There is nothing else distinguishing the two places, but the setting of each is understood by use of the lighting. Lighting Designer William Petersen changes the setting and the tone with each light cue. The Underworld is blue and bleak, except for the moments when Eurydice is with her father, which are lit more warmly with a spotlight. The mortal world lights up whenever Orpheus reads his letters to Eurydice, or when he speaks of his music. Otherwise, it is darkened.
Sound Designer Kelly Wideman also helps produce the tone of each setting. We hear water constantly dripping in the Underworld, helping us feel how damp and unwelcoming it is. There is some use of music, particularly when Orpheus is trying to express himself through his music. There is almost always some sort of sound effect helping to distinguish the setting and the mood of the scenes.
While it is not the fault of the production itself, this is certainly not a show for everyone. I would say there are some who would really understand and appreciate it. I am not saying that I am necessarily one of them, but there were still several aspects I enjoyed, both in the thematic elements of the script and the production itself. However, for someone going to the theatre for the first time, I would definitely not recommend this one. Even regular theatre-goers should be aware that it is unconventional and abstract. The script is not straightforward; there are confusing moments, and some things are left up to interpretation. The way the characters talk is unusual. There is a lot of use of metaphors and symbolism. A common theme throughout the play is the ability, or the inability, to understand each other. Sometimes they are literally supposed to be speaking different languages, but even when they are speaking the same language, they feel misunderstood. It leaves it up to the audience to find the meaning in everything the characters are trying to say.
The play itself is not highly inappropriate. However, the tone of it is often dark and a little uncomfortable. Some of the themes are meant for a more mature audience. It is also more abstract. Small children would not enjoy it, and the Good Company Theatre advertised that it is not recommended for kids under the age of 13 because it is a difficult story to follow, and it is often unclear what the characters are talking about all of the time.
Good Company Theatre’s Eurydice is full of talent, from the actors to the effects. Director Nicole Finney certainly understands the peculiar script, and has created a thorough, detailed production. All of the performances include strong emotions (or, I guess in the case of the Stones, a strong lack of emotions). The elements come together nicely, making the abstract and odd enjoyable. I am not saying you should not go see this show and in fact, I would recommend it—it is put together and presented very well. I am simply saying if you do see it, you should go with caution and be aware that you are not in for a typical theatre experience. Some things can be weird and good at the same time. With all the typical Halloween fare, Eurydice is creepy in a different, more intellectual way. It’s worth seeing.
Good Company Theatre presents Eurydice, written by Sarah Ruhl
2404 Wall Avenue, Ogden, Utah, 84401
Weekends, Oct. 12-Nov. 4, 8:00 PM, 4:00 PM Matinees
Tickets: $20 in advance or at the door
Good Company Theatre Facebook Page
Eurydice Facebook Event
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