by Betsy Labiner
The Scoundrel & Scamp Theatre’s Season for Scoundrels is off to a strong start. Their opening production is Sarah Ruhl’s Eurydice, which reinterprets the myth of Orpheus and Eurydice by turning the focus away from Orpheus and onto Eurydice. Knowledge of the myth isn’t necessarily a prerequisite for seeing and enjoying this play, but personally, I found it fascinating to have the source material reexamined, challenged, and given nuance.
Director Claire Marie Mannle points out the peripheral role traditionally played by Eurydice in the story: “Usually the myth of Orpheus is seen from the viewpoint of the man, Orpheus, and his heroic but tragic journey. His wife Eurydice has little influence in the original versions of the myth. This play takes a chisel to that and breaks it open. It is all about Eurydice, her choices, her journey, her voice. Eurydice’s voice starts and ends this play.”* In modern pop culture studies, we’d essentially say the original myth engages in “fridging.” The term “Women in Refrigerators” was initially coined by writer Gail Simone in regard to comic books, and it refers to trope in which female characters are injured, raped, killed, or depowered – women that are, more often than not, victimized in order to catalyze a man’s story or character development. Essentially, in the original myth, Eurydice serves as a plot device and is fridged in order for Orpheus’s story to unfold. Not so here.
Mannle foregrounds Eurydice, played by Kathleen Cannon, from the outset. She has the first dialogue, is subtly placed in front of Orpheus, and is immediately charming. Everything about her is vibrant and engaging, constantly calling the audience’s attention back to her even as Orpheus rhapsodizes about his music. Orpheus, played by Adam Denoyer, is initially something of a harder sell as a character; he is distracted and inadvertently dismissive of Eurydice, though his love for her is evident even in his moments of apparent self-absorption. As the play progresses and Orpheus sinks into despair, Denoyer’s performance becomes more and more compelling. His pain is palpable, and stands in stark contrast to Eurydice’s delighted engagement with (re)learning and experience in her new realm.
Cannon’s Eurydice is literally a spark of life in the underworld. Eurydice’s confusion is matched by her determination and exuberance, and she literally glows against the muted backdrop of the underworld. In addition to Cannon’s captivating performance, the costuming, designed by Allison Morones, is another success in this manner, particularly in its interaction with the lighting and set design (Josh Hemmo; Jason Jamerson). Hemmo’s lighting shifts between a yellow-orange spectrum for the living and a blue-green tint for the dead, with characters in the underworld dressed in dark or muted tones. Eurydice’s red dress and hair stand out in the underworld, markers of her liveliness and vigor despite the circumstances. This is juxtaposed with the costuming and lighting of her father, played by Bill Epstein, on whom a grey suit and white lighting serve to make him much more intangible and ephemeral when not actively next to Eurydice.
The Stones, played by Julia Balestracci, Leah Taylor, and Gretchen Wirges, were another delight. Their haughty disapproval for much of the play is heightened by the sound effects used on their voices, making them resonant and even more forceful. Their reactions both offer comedic asides and heighten the tension, particularly in moments such as when the Nasty Interesting Man walks onstage and each woman’s posture pulls taut. The Nasty Interesting Man, played with smarmy malice by Ryuto Adamson, offers both laughs and anxiety, as Adamson continually reasserts his power and revels in the control he exerts.
Mannle’s production gives Eurydice life and depth, making her a real person to be loved and grieved. For Mannle, this is crucial not only in terms of our understanding of the characters and their stories, but also to reassess our own stories and those of the people surrounding us. “It seems vitally important (perhaps now more than ever) that we tell old stories with new voices, voices that struggle to be heard,” Mannle explained. “I think it is critical that we amplify the voices of women and voices of people that have been historically marginalized and listen to them so that we can build a better world. Hopefully, this performance offers something to continue that conversation.”
Eurydice runs through October 28 at The Scoundrel & Scamp Theatre. Tickets are $28 general admission, with discounts available for students, educators, and patrons under the age of 30.
Tickets may be purchased online at scoundrelandscamp.org, by phone at 520-448-3300, or in person at the box office beginning one hour before each show. The Scoundrel & Scamp Theatre is located in the Historic Y, at 738 N. 5th Avenue.
*Quotes from Mannle are sourced from promotional materials provided by the Theatre.
Editor’s Note: Betsy Labiner is a box office assistant at The Scoundrel & Scamp Theatre. While she had no input or involvement with the creative process for this production and reviewed this play as she would one at any theatre, we feel it is important to disclose any potential biases.