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To the depths of the underworld in Eurydice
Time-tested myth imaginatively retold at Oceanside Theatre Company
Morgan Taylor Altenhoff in Eurydice
Taking the audience on an enchanting journey from the land of the living to the depths of the underworld, Sarah Rhul’s Eurydice is the Oceanside Theatre Company’s current attraction at the Sunshine Brooks Theatre.
Eurydice
- Sunshine Brooks Theatre, 217 N. Coast Highway, Oceanside
- $15 - $25
Based on the Greek myth of Orpheus, this is an imaginative retelling from the perspective of his bride, Eurydice. Focusing on Eurydice’s choice to return to earth with Orpheus or to stay in the underworld with her father, the play eloquently captures all the cherished father-daughter moments.
The myth of Orpheus and Eurydice has been interpreted by many authors in a variety of ways. From the ancient legend concerning their fateful love to Virgil’s classic version woven into an allegorical poem, to Ovid’s version in his Metamorphoses, to Jean Anouilh’s play about a 1930s troupe of traveling performers, the symbolism of the iconic characters and their eloquent use of language has stood the test of time.
Ruhl has made several changes to the original: inventing the character of the heroine’s dead father, having Eurydice call out to Orpheus in fear of re-entering the world of the living, and, on the opposing side, desiring to remain in the land of the dead with her father.
Essaying the part of Eurydice, Morgan Taylor Altenhoff gives us an impressive array of emotions in a straightforward, honest manner. John Maltese gives Orpheus a fresh masculinity and makes him a sensitive man with dignity. Their on-and-off dance with death is fascinating to watch, courtesy of Shelby Coughron’s simple but telling choreography.
Tavis Baker as the Interesting Man/Lord of the Underworld portrays evil with creepy undertones. His impressive vocal delivery and body language articulate the character well. Christopher Pittman is the loving father with a difference — though dead, he still relates to his daughter in effective ways. His manner appears to genuine, but this is love from a distance, transcending place and time.
Director Dhyana Dahl has guided the cast with authority and love for the material. One only wishes she could have infused the actors with an inner energy, since the pace has the feel of a funeral procession most of the time. Tragedy can have energy to move the plot along, and we perceive a lack of this quality throughout.
The shadow puppetry of Mark Patricio and Kelsey McNeilly adds a mystical quality. Highly creative and beautifully done, the shadow-puppet scenes become an almost constant reminder of the rich subtext of this piece of theater.
Jason Adkins’s anachronistic set design eschews traditional ideas. The backdrop becomes a beautiful landscape of land and sea, but hung as though in a gallery. The “raining elevator” and the inclusion of the shadow screen are the master strokes of a fine artist.
Paul Durso’s music sets the mood and highlights the emotions in a haunting but seamless manner.
Playing through February 26
Here's something you might be interested in.
To the depths of the underworld in Eurydice
Time-tested myth imaginatively retold at Oceanside Theatre Company
To the depths of the underworld in Eurydice
Time-tested myth imaginatively retold at Oceanside Theatre Company
Morgan Taylor Altenhoff in Eurydice
Taking the audience on an enchanting journey from the land of the living to the depths of the underworld, Sarah Rhul’s Eurydice is the Oceanside Theatre Company’s current attraction at the Sunshine Brooks Theatre.
Eurydice
- Sunshine Brooks Theatre, 217 N. Coast Highway, Oceanside
- $15 - $25
Based on the Greek myth of Orpheus, this is an imaginative retelling from the perspective of his bride, Eurydice. Focusing on Eurydice’s choice to return to earth with Orpheus or to stay in the underworld with her father, the play eloquently captures all the cherished father-daughter moments.
The myth of Orpheus and Eurydice has been interpreted by many authors in a variety of ways. From the ancient legend concerning their fateful love to Virgil’s classic version woven into an allegorical poem, to Ovid’s version in his Metamorphoses, to Jean Anouilh’s play about a 1930s troupe of traveling performers, the symbolism of the iconic characters and their eloquent use of language has stood the test of time.
Ruhl has made several changes to the original: inventing the character of the heroine’s dead father, having Eurydice call out to Orpheus in fear of re-entering the world of the living, and, on the opposing side, desiring to remain in the land of the dead with her father.
Essaying the part of Eurydice, Morgan Taylor Altenhoff gives us an impressive array of emotions in a straightforward, honest manner. John Maltese gives Orpheus a fresh masculinity and makes him a sensitive man with dignity. Their on-and-off dance with death is fascinating to watch, courtesy of Shelby Coughron’s simple but telling choreography.
Tavis Baker as the Interesting Man/Lord of the Underworld portrays evil with creepy undertones. His impressive vocal delivery and body language articulate the character well. Christopher Pittman is the loving father with a difference — though dead, he still relates to his daughter in effective ways. His manner appears to genuine, but this is love from a distance, transcending place and time.
Director Dhyana Dahl has guided the cast with authority and love for the material. One only wishes she could have infused the actors with an inner energy, since the pace has the feel of a funeral procession most of the time. Tragedy can have energy to move the plot along, and we perceive a lack of this quality throughout.
The shadow puppetry of Mark Patricio and Kelsey McNeilly adds a mystical quality. Highly creative and beautifully done, the shadow-puppet scenes become an almost constant reminder of the rich subtext of this piece of theater.
Jason Adkins’s anachronistic set design eschews traditional ideas. The backdrop becomes a beautiful landscape of land and sea, but hung as though in a gallery. The “raining elevator” and the inclusion of the shadow screen are the master strokes of a fine artist.
Paul Durso’s music sets the mood and highlights the emotions in a haunting but seamless manner.
Playing through February 26
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