Last weekend, Cabaret Theatre housed contemporary playwright Sarah Ruhl’s Eurydice, a fresh and vibrant take on the famous Greek mythological tale. Though Eurydice is a tragedy, the performance itself was just about the opposite.
The story begins as two lovers, Orpheus and Eurydice, are married. When Eurydice encounters a strange man who lures her to his apartment with a letter from her deceased father, she follows. Ultimately, misfortune ensues as Eurydice falls to her death and is whisked away to the Underworld. Eurydice is no longer able to recall her past until her father stumbles upon her and helps her to remember. As they spend time catching up, Orpheus devotes his time to finding Eurydice, wherever she may be. When he manages to surpass the gates of the Underworld, he is offered to take Eurydice back with him on the condition that — no matter what — he cannot look back at her before she reaches the earthly world.
Upon entering the theatre on Douglass campus, the intimate space was accommodating and inviting. Decorated with yellow string lights on one end, blue lighting and a circular stream on the other end, and a bridge connecting the two worlds in the middle, the set captured the mystical attributes so vividly brought to life by Ruhl’s text.
The performances were well done and seemed to improve as the show progressed. JP McCloskey (Orpheus) and Sarah Esmi (Eurydice) created a very playful and sincere chemistry, which enhanced the audience’s attachment to the two characters. Andrew Saunders (A Nasty Interesting Man/Lord of the Underworld) generated intrigue, fear and laughter from his roles. William Carey (Little Stone), Gia Zampella (Big Stone), and Christina Procaccini (Loud Stone) added an interesting and — at times — humorous effect, acting as a sort of Greek chorus of three. Joey Braccino (Father) gave a stellar performance, playing his role genuinely and consistently with impeccable precision.
Annie R. Lutz, a University student, directed Eurydice as her senior thesis. Her vision for the show translated the beauty of the text simply and strategically. The dream-like quality came through, while still maintaining the characters’ earthliness.
Though Eurydice ran for only three performances, the experience was notable, worthwhile and enjoyable.
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