WILMA'S EURYDICE IS A NEW SLANT ON AN OLD STORY

Theater: The Wilma Theater
Show Title: Eurydice
Opened: May 7, 2008
Seen: May 7, 2008
Reviewer: Arnie Finkel
Submitted: May 8, 2008

All of the retelling of the Orpheus story that I researched are told from Orpheus’s viewpoint. What a refreshing and interesting switch to see the tale through Eurydice’s eyes. That is exactly what the Playwright Sarah Ruhl and Director Blanka Ziska have given us in their new production—EURYDICE.

We first see Orpheus and Eurydice at the beach in a charming scene in which we learn that they are very much in love. On their wedding day, Eurydice is tempted by a letter from her dead father held by a Nasty Interesting Man and by accident falls to her death. In the underworld she is met by a trio of stones who act as a Greek chorus. She is then reunited with her father who brings back her memories of her time on Earth.

In a very theatrical and touching moment, her father builds a room for Eurydice out of string. Orpheus, meanwhile, is miserable without his wife and vows to find her. This sweet singer of songs can only create sad music until he is reunited with Eurydice.

He enters the underworld and sings so sad a song that even the stones cry. It gains him a meeting with the Lord of the Underworld, who says he can have his wife if he leads her out of Hades but never looks back to see her. Eurydice is then faced with the dilemma of leaving her father again after bonding with him, or going with her husband.

I won’t tell you what happens—you’ll just have to either read the story or better yet go see this marvelous production.

In a spare 90 minutes with no intermission Sara Ruhl has given us a lot to ponder. The love of a father for a daughter versus the love of a husband for his wife. And, more importantly, Eurydice’s feelings.

The cast is uniformly excellent. Merritt Janson is a wonder as Eurydice. She is vulnerable, sweet, confused, and altogether delightful. Stephen Novelli is every bit as good as her Father—a very warm and insightful portrayal. Benjamin Huber is a worthy Orpheus. He embodied the love and the anguish and the determination of his character very well.

Triney Sandoval was equally effective as the Nasty Interesting Man and the Lord of the Underworld. He provides much of the humor of the piece. Each of the Stones- Greg D’Alessandro (Big Stone), Erin Reilly (Little Stone) and Cathy Simpson (Loud Stone) were just about perfect.

I can’t say enough about how much the original music by Toby Twining added to the overall effectiveness of the production. Tenor Steven Bradshaw, Soprano Eric Brenner(yes he’s a man),Mezzo/alto Elizabeth Filios, Bass (and Conductor) Mark Johnson and cellist Floreta Shapiro underscored, commented, and provided sound effects which illuminated the script.

Blanka Ziska has much to be proud of. Her direction is sure and on the mark and exactly in tune with the values in the script. All the touches and subtleties were as right and fitting as her decision to add the music.

Mimi Lien designed a set that was wondrous. It was as if it was a character in the play. The lighting and sound designs by Tyler Micoleau and Jorge Cousineau were in tune with the rest of the production.

Eurydice is not going to be everyone’s cup of tea. If you are adventurous and want an evening of pure theater make your way down to the Wilma where Eurydice will play until June first.