New Writers Theatre artistic director makes an impression with enchanting 'Eurydice'
As the saying goes, you never get a second chance to make a first impression.
Writers Theatre's new artistic director Braden Abraham won't need a second chance, as evidenced by his captivating revival of #8220;Eurydice,#8221; Wilmette native Sarah Ruhl's retelling of the Orpheus myth from the perspective of his doomed wife.
The production marks the Seattle Rep transplant's introduction to patrons of the Glencoe theater. It is quite a promising start.
A delicately theatrical tale about love (romantic and parental), loss, grief and the challenge of fully communicating with those we hold most dear, #8220;Eurydice#8221; is an emotional work, particularly for daughters of departed fathers.
Abraham's well-cast, warmly acted production features the winsome, nicely vulnerable, slightly entitled Sarah Price as bibliophile Eurydice and the dreamy, guileless Kenneth La'Ron Hamilton as her beloved composer Orpheus. They are clearly smitten, yet they cannot hum the same tune or find the same beat.
We meet them the day of their engagement when Orpheus promises his beloved the world. But their happiness is brief. Eurydice dies on their wedding day following her encounter with a mysterious man (Larry Yando, unequaled in his ability to convey a merry sort of menace).
She descends to the Underworld (the mythical Hades) in a rain-soaked elevator expertly conjured by set designer Courtney O'Neill and lighting designer Marcus Doshi. There she meets Ruhl's version of a Greek chorus, three comically grumpy stones played by Susaan Jamshidi, Elizabeth Ledo and John Lister. Dressed in vintage resort wear and sporting sunglasses, the trio lounge on lawn chairs and school the bewildered Eurydice #8212; her memory washed clean #8212; on navigating her afterlife.
She finds an ally in her father, (John Gregorio, in a performance of boundless affection and care), who has been sending her letters she never received. Unlike the other souls in Hades, Father retains his memories and helps his daughter regain hers.
Their happy reunion is also brief, interrupted by a desperate Orpheus, who arrives demanding Yando's Lord of the Underworld release his wife. The Lord agrees, allowing Eurydice to follow Orpheus out of Hades, but if he glances at or speaks to her, he loses her forever.
Characteristic of Ruhl's writing, there is an unwavering sense of whimsy to #8220;Eurydice,#8221; which combines humor, heartache and a couple of twists while remaining faithful to its source. In a play that addresses the two great loves of Eurydice's life, I have always found scenes between her and her father especially moving. Price and Gregorio's performances wonderfully reflect not only a father and daughter's profound love, but also the genuine delight they have in each other. Bravo.
With a sweeping, steeply raked set by O'Neill, lighting by Doshi and delectable, citrus-colored costumes by Danielle Nieves, Writers' #8220;Eurydice#8221; is a beautifully designed show. It also boasts Jeffrey Levin's exquisite sound design, which alternates lush symphonic passages with cacophonous collages and amplified ambient sounds with harsh mechanics. Levin's evocative soundscape suits perfectly Ruhl's imaginative writing.
That combined with Abraham's lyrical, carefully detailed direction make for an entrancing theater experience. As debuts go, this one's a triumph. I can't wait to see what's next.
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Location: Writers Theatre, 325 Tudor Court, Glencoe, (847) 242-6000, writerstheatre.org
Showtimes: 3 and 7:30 p.m. Wednesday and Saturday; 7:30 p.m. Thursday and Friday; 2 and 6 p.m. Sunday through Oct. 22
Tickets: $35-$90
Running time: About 80 minutes, no intermission
Parking: Street parking available
Rating: For teens and older