Review: Eurydice/Filament Theatre Ensemble

Photo: Carolyn Faye Kramer

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The Greek myth of Orpheus and Eurydice is usually told from the side of the former: a preternaturally talented musician marries the love of his life, only to lose her to a viper’s sting. Orpheus travels to the underworld to find her, where he is told he can bring Eurydice back, as long as he promises not to look back at her during their re-ascent. Only he can’t help but do so.

By focusing on Eurydice’s experience, Sarah Ruhl’s play ends up becoming a treatise on loss and memory. And although imperfect, Filament Theatre’s production manages to make some of the play’s most striking and poignant moments utterly memorable.

Director Julie Ritchey maximizes the potential of the space at the Lacuna Artist Lofts with open, mobile, yet not unnatural staging, although the predominance of the wood flooring makes for a peculiar Hades. Peter Oyloe is appropriately aloof as an Elvis-type Orpheus, and his original music, along with Shannon Bengford, is stirring when it’s not too precious. Carolyn Faye Kramer evokes empathy in the titular role, as does Patrick Blashill as her father, and together the chemistry in their relationship often eclipses the romantic one. (Neal Ryan Shaw)

Filament Theatre Ensemble at the Lacuna Artist Lofts, 2150 South Canalport, (773)270-1660. Through May 29.

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