Summary: Playwright Sarah Ruhl reimagines the Orpheus myth, reorienting us to Eurydice’s perspective and transplanting the action into a surreal present-day-ish setting. Besides being one of this semester’s two faculty-directed shows, Eurydice is also the senior thesis work of Ryan Bates ’11 (set design).
Good: Dustin Schwartz ’11 was perfectly cast as Eurydice’s father (stuck in the underworld). His movements and gestures were small and limited enough to pull you into the narrow world he’s forced to inhabit, but clear enough to immediately make sense. // The script, the set, the lights, the frequent swells of music and sound, the heightened performances (Gillian Durkee ‘11.5 and Ben Orbison ‘12.5 especially) — made the 1:30 intermissionless show feel like a wild dream. I was tearing up, I swear. // The set was brilliant. It looks nifty yet basic as you walk in, but over the course of the play, surprise after surprise spills out.
Bad: I felt like the Chorus of Stones (Alicia Evancho, Jenny Johnston, Christina Fox) weren’t given enough attention or emphasis. They were so weird and intriguing, but the mechanical way in which they were directed set them a little father apart from the rest of the characters than they needed to be.
Broad: As a pure matter of style, Eurydice is not naturalism. You have to be willing to not understand some word choices for the first few minutes. Unlike, say, Vanya, which immediately sets you down in a clear, sharp, intense family situation, Eurydice eases you into its odd world.
Contextual rating: If you have something important to do this weekend,
-…do it, and see this show if you can.
-…put it off and see this show. (Too close to call between this and Vanya. Just depends on what you like.)
-…skip it and see this show.
Eurydice is showing in Seeler (CFA). Tonight at 8:00. Tickets $6 at the door.