Eurydice @ C Eca
To the underworld and beyond
UCLU Runaground’s re-imagining of the Eurydice and Orpheus myth is an incredibly visual piece of theatre. That may seem tautological, but every aspect of the play appears to have been designed solely on how aesthetically pleasing it can be. In particular, the physical and dance elements of the play are performed with an easy and attractive grace by the entire company. The staging, almost divided into two, with a washing-line type pulley system for the letters cleverly captures the themes of separation and communication that run throughout the plot.
Although the entire cast are clearly talented, Eurydice has a case of the secondary actors outshining the central couple. Particularly, the introduction and performance of the three stones, who have an almost Beckettian style about them. The ‘interesting man’ that Eurydice meets during her wedding is another incredibly engaging and captivating performer who manages to pull focus even during Eurydice’s most pivotal moments.
Unfortunately, Orpheus and Eurydice don’t have quite the same captivating pull over the audience during their bigger moments, not quite capturing the level of emotion required to turn the mythical demi-gods into fully accessible characters. Instead their relationship appears more as a two dimensional framing piece used to access the much more interesting questions around death, separation and remembrance, noted in the much stronger relationship between Eurydice and her father, reaching its crescendo in the character’s confused finale.