The eight-time Tony-award-winning musical, Orpheus and Eurydice, at the Theatre Royal offers a fresh perspective on the ancient myth. The production combines folk opera, jazz, and poignant storytelling to explore themes of love, death, hope, and the collective struggle for freedom.
The myth of Orpheus and Eurydice is one of the oldest stories we know: all gods and men, love and death, fear and faith. But in the eight-time Tony-award-winning musical now at the Theatre Royal, the story has a new life that’s both timeless and also perfect for these times. It’s a gutsy folk opera turned genuine Broadway hit. It’s a show that dares you to listen to its songs – little gifts of poetry, folk and jazz – and believe that an ancient story still has something to say.
Hermes (Christine Anu), a warm and knowing emcee, introduces us to Orpheus (Noah Mullins, angelic), the Fates (Sarah Murr, Jennifer Trijo, and Imani Williams) who lurk in the back of our minds, and Eurydice (Abigail Adriano, luminous). The band (under the lively music direction of Laura Tipoki) are onstage with the chorus, feeling the story of these lovers and sharing it with us. As soon as Orpheus sees her, he’s in love; Eurydice, more grounded in reality, is cautious. We watch them fall in love as the world turns and Persephone (Elenoa Rokobaro, electric) returns to her husband Hades (Adrian Tamburini, striking), leaving behind a harsh winter. It ends badly – but if you know the myth, that’s no spoiler. Eurydice is bound for Hades’ domain of the dead, and Orpheus is bound to try to bring her back. The hopeful and heartbreaking journey plays out on an early 20th century New Orleans-inspired stage, all speakeasies and balconies and depression-era struggle. In a stunning journey lit by lamps and lanterns (The Tony Award-winning lighting is recreated wonderfully here by Trudy Dalgleish), Orpheus descends. When Orpheus appeals to Hades for the chance to love to flourish again – not just for himself and Eurydice, but also Hades and his resentfully too-caged wife, whose journey is just as compelling as that of the young lovers – you feel something like hope flutter in your chest. And when Orpheus appeals to the lost souls of Hades’ foundries and urges them to rise up against a boss who steals their joy, their freedom, and their identities, it’s a reminder of the strength that lies in the collective. After just a few previews, the production is still settling into itself – a brief show stop for technical difficulties early into opening night gave its first act a stuttered, hesitant start – but as the show warmed up, so did the cast, and by the second act everything was expressive, expansive and deeply touching. This will only grow over the season. You shouldn’t miss it. We know how it all ends, of course – or do we? Hermes and her players have a lot to tell us about that, and it’s a powerful narrative well worth hearing
Orpheus And Eurydice Musical Broadway Folklore Love Death Hope Collective
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