By D. A. Blackburn
In the opening production to enter the rotating repertory this season at Wayne State's Hilberry Theatre, the company tackles a modern interpretation of a classic Greek tragedy, weaving an elegant quilt of love and loss, from a somewhat clumsy work.
Though the story of Orpheus' trip to the underworld has been adapted for the stage in countless theatrical works, Sarah Ruhl's "Eurydice" brings a fresh perspective to the tale, approaching it from the other side of the matrimonial bed, that of his wife, the play's namesake.
Ruhl's script, first staged in 2003, is quite good in parts, but it relies heavily on the widespread familiarity of the greater Orpheus legend. Ruhl's writing in developing the relationships of the work – the passion between Orpheus and Eurydice, and the nurturing love between Eurydice and her father – is delicious. But elsewhere, significant themes feel unnervingly underdeveloped.
The play's opening scene in which we meet the lovers is smart and seductive, and very well handled by Caroline Price and Aaron Kirby. They create a wholly believable portrait of young love, but when separated by Eurydice's death, the tortured sorrow that drives Orpheus to descend into the underworld feels implied in dialogue, rather than demonstrated by his actions.
Likewise, the post-mortem relationship of Eurydice and her father is crafted with rich, thoughtful dialogue, but the loneliness and despair that drives her father to relinquish his connections to the living world are hardly explored. It seems that Ruhl's gift is in writing love, not loss.
"Eurydice" expects that many of the core elements of Greek mythology are established knowledge, only offering them up when completely necessary through a chorus of talking stones. This adds a tinge of awkward comedy to the decidedly tragic story.
Dylan Stuckey's performance in two roles is excellent, even if both characters aren't. As the Nasty Interesting Man who leads Eurydice to her death, he performs with a sly charm. He also makes the best of a poorly written Lord of the Underworld, even donning unreasonably tall stilts for a role that seems strangely child-like, rather than foreboding.
Also at issue is the work's juxtaposition of very modern properties and costumes over an aged myth. It's a premise without explanation or necessity, which leaves the work foundering without an anchor in time and space.
The Hilberry's tech staff, however, has done a fine job in giving the work a sharp look and an inventive staging. J. Marc Quattlebaum's sets use every inch of the theater's stage, and incorporate some very savvy effects. James Costello's lighting is superb, bathing the work in rich hues, and moving the story from scene to scene with grace. Kathleen E. Lanphear's sound design is also quite well developed, but unfortunately, there seems to be a consistent disconnect between it and the performers.
Ruhl's "Eurydice" may not be a perfect script, but in the hands of the Hilberry, it's well executed and engaging. Her inconsistent writing may be a shortcoming, but it provides a vehicle for consistently good performances, and a canvass for some excellent stagecraft.
REVIEW:
'Eurydice'
Hilberry Theatre, 4743 Cass Ave., Detroit. Plays in rotating repertory through Dec. 13. Tickets: $10-$30. For information: 313-577-2972 or http://www.hilberry.com.
