Greek mythology has long been an inspiration for theatre. Bethesda, MD’s Round House Theatre is currently featuring Sarah Ruhl’s Eurydice, based on the Greek myth concerning the fate of two young lovers, Orpheus and Eurydice.When you enter the theatre, you are faced with a striking set of scaffolding and two stone playing spaces separated by water—clearly, one of the five rivers of Hades.
As the lights come up, we meet the two young lovers, Orpheus and Eurydice, played by Adriano Gatto and Jenna Sokolowski, and, after a slightly too long opening scene, the story begins to unfold. We quickly meet Interesting Man/Lord of the Underworld, artfully played by Mitchell Hébert, who lures an unsuspecting Eurydice to his apartment, and ultimately to her death. The moment of her demise is somewhat lost on the audience as the action takes place three stories above the audience. The real impact of her death is more effectively demonstrated in chilling fashion by a pained scream as Orpheus realizes that his love is gone.
Mitchell Hébert is wonderful in the role of the Interesting Man/Lord of the Underworld. His interpretation is playful, evil, and uncomfortably sensual. He owns the stage and you are immediately drawn into his grasp. His Interesting Man becomes so hypnotic that it is easy to see how he was able to lure Eurydice away from her own wedding party and to her death. Hébert’s performance is filled with quirks and antics that make the character real, yet it is so masterful that he never is reduced to cliché.
The most poignant moment of the evening belongs to Harry A. Winter, who as Eurydice’s Father, is a resident of Hades, waiting there to greet his daughter when she arrives. He tries feverishly to remind her of who he is, however, she has no recollection because of the ordeal of entering Hades. When Father realizes that Eurydice cannot remember him, he decides to serve her as a porter, as a way to stay close. This moving scene is beautifully staged and features a simple musical score that is absolutely perfect for the moment.
Harry A. Winter is a Washington theatre regular, and when properly cast, he is magnificent. While Winter’s range as an actor is somewhat limited, when he is right for a role, it’s difficult to imagine anyone else in it. And Harry A. Winter is perfect as Father. His performance is touching, heartfelt, and poignant—a believable interpretation of the love a father feels for his daughter, and the pain that is felt when he loses her.
However, the true stars of the evening are the three stones, Big Stone, Little Stone, and Loud Stone—a stone family that serves as an over-the-top version of a Greek chorus. The Stones, played by KenYatta Rogers, Linden Taylor, and Susan Lynskey, move in sequence, speak in sequence and operate as a unit. The direction and performances are extremely polished and well rehearsed. And these roles are most certainly exhausting as the performers are onstage nearly the entire evening, much of the time holding awkward poses or moving in unnatural ways. As an ensemble, these three talented actors are brilliant. Lynskey is particularly entrancing as she occasionally offers a tiny look or smile that changes the entire mood of the moment. The understated execution of her over-the-top role is genius.
Under Derek Goldman’s direction, the world of Hades doesn’t go far enough. The audience is left feeling like we’re missing something. There is tremendous opportunity to explore the world of Hades, which is visually teased as a Wonderland environment. But we never quite get there and at times, particularly as Orpheus once again sees Eurydice, the story and action nearly falls apart.
Sarah Ruhl fans might be disappointed with Eurydice, as her script just doesn’t go far enough. Some of her other works, including The Clean House and Dead Man’s Cell Phone, are much stronger. I wanted Ruhl to take more risks with the work, dive in deeper, and create more controversy on the stage. Instead, I was left with a somewhat interesting yet uninspired theatrical experience. I’m certain that I will soon forget this experience without the need to visit Lethe, the Hades river of forgetfulness.
Eurydice continues at the Round House Theatre until March 1, with Adriano Gatto, Mitchell Hébert, Susan Lynskey, KenYatta Rogers, Jenna Sokolowski, Linden Tailor, and Harry A. Winter.
Director: Derek Goldman; Scenic Designer: Clint Ramos; Costume Designer: Kathleen Geldard; Lighting Designer: Colin K. Bills; Sound Designer: Matthew M. Nielson; Dramaturge: Jacqueline E. Lawton; Stage Manager: Keri Schultz.
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