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Play 'eurydice' is a must-see

Published online on Thursday, Oct. 15, 2009

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Fresno City College's production of "eurydice," which continues through Saturday, is a stunning work of theater: handsomely mounted, decisively directed, gorgeously costumed, gracefully acted. It's a must-see.

From the production's first moments as the house lights dim and a plaintive voice sings the lyrics "Don't Let Me Go," to the very last moment of the show, when a major character makes a heartbreaking last gesture, the show casts an almost hypnotic spell on the audience. Director Chuck Erven has described the play as a cross between "Alice in Wonderland" and Cirque du Soleil. That's an apt way to capture the mood he crafts: part fairy tale, part dream, in a brisk, 90-minute run time.

The classic tale of Orpheus and Eurydice has been told in many ways. In playwright Sara Ruhl's version, which opened at Berkeley Repertory Theatre in 2004, we float through a sort of timeless space that bridges modern sensibilities (there's an actual elevator to the Underworld) and ancient classicism. It's in this versatile space that the sad and compelling tale of the musician Orpheus (Jarod Caitlin) and Eurydice (Melissa Booey) unfolds, with the two of them first frolicking in the waves of the sea, then getting married, and then finally confronting her unfortunate demise and descent to the Underworld. The distraught Orpheus composes music so sad that even the Stones cry, and he finagles a deal with the Lord of the Underworld (Magnus Chhan): Orpheus can take Eurydice back with him to the land of the living, but if for any reason on their journey he looks back at her, she'll stay forever.

Caitlin and Booey are riveting in their opening scene as they act out gooey, romantic love, and it's interesting to see their relationship deepen and darken as the play progresses. Mike Harrison, as Eurydice's father, gives an aching performance. Jon Hollis, as the Nasty Interesting Man, is deliciously malevolent, and Magnus Chhan's Lord of the Underworld is yet another strong turn.

Erven's precise direction unfolds with moments of nearly crystalline physicality. Among the most impressive performances come the three actors who portray the Stones (Marcos Hammer, Jochebed Smith and Bridget Manders). Their modulated voices as they recite their choruslike commentary is a music all its own, and the physical choices they make -- the way they hold their hands, their heads, seemingly even their noses -- combine in a wonderfully witty and endearing way.

What makes the whole experience even more notable -- and worthy of a true gush -- is the emotional impact. For me, "eurydice" is about the bittersweet, fleeting nature of life and the way that one small word or gesture can have great impact. This production seemed to hang with me as I left the theater -- not like a dark shroud, but more like a light, refreshing mist. I felt blessed.