Eurydice (Melbourne Shakespeare Company), at fortyfivedownstairs

In Greek mythology, Orpheus and Eurydice is a tragic love story.

Singer, musician and poet Orpheus marries the beautiful Eurydice, whose untimely death sees him seek her out in the underworld.

It is there that he does a deal with the devil.

Photos by Nick Mick Pics

Hades allows Eurydice to rejoin Orpheus in the land of the living on the condition that to get back there Orpheus walks ahead of her and never turns back to look at her. 

If he does, she will be consigned to the underworld forever. 

Now Melbourne Shakespeare Company presents Sarah Ruhl’s 2003 reimagining of that story from a female perspective.

In this retelling, directed by Gary Abrahams, a contemporary bedroom romp begins proceedings, complete with a proclamation of love by both Orpheus and Eurydice. 

Orpheus is well down the track (pardon the pun) in composing a song just for a needy Eurydice, with music being his other great love.

Their wedding celebrations don’t live up Eurydice’s expectations and as she wanders away from the party she is waylaid by a devilish man with a resonant voice.

It is this same cad – who turns out to be the Lord of the underworld – who lures her to an apartment and ravages her.

The pretence is that he has a letter from her dead father, who Eurydice very much wanted to be with her on her wedding day.

Her dad had been writing to Eurydice repeatedly from beyond the grave, but to that point he hadn’t found a way for his letters to get through.

Now Eurydice and her father will be reunited in death. 

That is notwithstanding the blocking efforts of a trio in cahoots with the devil, known in this adaptation as the Stones.

Meanwhile, a heartbroken Orpheus sets out to find Eurydice and bring her back, which is when the pact with Satan comes to the fore.

I was taken by striking performances of Aisha Aidara – playful, curious and wanting – as Eurydice and Tomas Kantor, who is readily distracted (and sings) as Orpheus.

John Voce presents as a teacher and would be protector as Eurydice’s kindly father, while Devon Braithwaite revels in his representation of the devil incarnate.

His amped-up, reverberated vocals and arrogant attitude suit the part perfectly, and he is not even averse to some tap dancing. What a fiend he is!

Joshua Gordon, Fran Sweeney-Nash and Miles Paras do their bit as the disagreeable Stones, complete with shouts and snarls. 

Also distinguishing this production is the set and costume design by Nathan Burmeister.

Upon entering the theatre, immediately noticeable is a bedroom with keyboard nearby, and bathroom, but then there are the surprises.

These include a phone booth and freezer.

There is also liberal use of transparent, thin plastic. 

Burmeister has added sex appeal to the costuming.

Eurydice is also marked by its noteworthy sound and lighting design.

The composer and musical director is Grace Ferguson, while the sound and AV designer is Justin Gardam. Spencer Herd is responsible for lighting.

With artistic direction from Jennifer Sarah Dean, she and director Gary Abrahams draw us in to their storytelling and hold us tightly throughout.

Ninety minutes without interval, Eurydice is on at fortyfivedownstairs until 14^th June, 2026.