Eurydice review and star rating: ★★★★☆
It’s notoriously difficult to bargain with the lord of the underworld, and when he concedes, it is ill advised to violate his conditions.
The story of Eurydice, a character in Greek mythology, draws parallels in the tragedy stakes with Shakespeare’s Juliet. Following Orpheus’ (Keaton Guimarães-Tolley) proposal to Eurydice (Eve Ponsonby), temptation to reconnect with her dead father (Dickon Tyrrell) leads Eurydice astray. In a haze of revelry and panic, she missteps and is plunged into the underworld. Stricken with grief, Orpheus plots to bring Eurydice back from the dead. The story has also been turned into a modern musical called Hadestown that’s currently playing at the Lyric Theatre (City AM gave the production two stars).
Sarah Ruhl’s 2003 adaptation is provocative and clever. The 21st century take on the legend retains the weight of the original, threaded with dramatic irony balanced out by comedic devices to lighten the bleakness.
Ponsonby gives an engrossing Eurydice, getting across the conflict at the heart of the character, and Guimarães-Tolley’s portrayal of legendary musician Orpheus is equally commendable. The clever direction of Stella Powell-Jones has Guimarães-Tolley underscoring poignant moments in the production with smooth guitar melodies.
Signalling the arrival in the underworld is a trio of anthropomorphised stones (Katy Brittain, Tom Morley and Leyon Stolz-Hunter) tasked with keeping the peace, though at times their comedic dialogue dilutes the tension, particularly in the closing scene when Eurydice is coming to terms with her eternal fate.
The lighting and sound crew shift the atmosphere well between the worlds of the living and the dead. At times it feels as though the temperature in the room has plummeted when something sinister is afoot.
This production is a harrowing reminder of the fragility of life and the continuing importance of Greek myths. Eurydice is a must see.
Eurodice plays at the Jermyn Street Theatre until 9 November
Read more: The Duchess of Malfi review: Jodie Whittaker can’t save this