GUTTER Theatre’s Eurydice brings together the well-known myth of two tragic lovers. However, rather than focusing on Orpheus’ journey down to rescue her, Jane Morgan and Rue Richardson’s production places Eurydice herself at the heart of the tale, exploring the dynamics and intricacies that define the lovers and those around them. We see her experiences in the underworld, and ultimately her resistance and self-sabotage as she struggles to return to the world of the living.
Amelie Berry, Aodhán Mallon, and Lisa Gilham combine forces as the Stones — the sometimes ineffective enforcers of the underworld, tasked with laying out its rules but seemingly having little power to intervene. Their presence brings a playful energy to the production, contrasting with the more emotional performances at its centre. Erin Jedder-Hogg as Eurydice delivers an entertaining and engaging performance, making the 90-minute runtime whiz by and remaining difficult to look away from. Yet the standout emotional performance comes from John Beattie as Eurydice’s father. His performance shines not through grand emotional moments, but through quiet facial expressions and the patience with which he looks after and looks out for his daughter. It is in these quieter moments that the production finds some of its most genuine emotion.
The set design is clever and creative. The use of cellophane doors to mimic the barrier between the real world and the underworld proves particularly effective, allowing the stage to shift between the two worlds without needing elaborate set changes. This is complemented by an extravagant lighting system of colour changing LEDs, spotlights, and handheld torches carried by actors on stage. While lighting cues are sometimes missed or delayed — taking away from some of its intended impact — the creativity of the production remains clear.
However, as a longstanding fan of the original myth — as well as the beloved musical adaptation Hadestown — I found myself feeling slightly cold towards the production’s portrayal of its relationships. The negative depictions of the characters and exaggeration of their flaws left me feeling little emotional investment in their relationships, with many of the characters difficult to warm to. That said, the relationship between Eurydice and her father provides a notable exception. Their bond is portrayed with genuine warmth and connection — particularly from a paternal perspective — and their relationship provides some of the production’s most emotionally affecting moments.
Eurydice is an enjoyable performance that provides a fresh twist and outlook on a familiar fable, keeping the story fresh and relevant for a 21st century audience while interrogating love, grief, and the nature of remembering.
Eurydice by GUTTER Theatre runs until 3 October at Assembly Roxy. Buy tickets here.
Image by Rue Richardson, provided to The Student for press use.
