★★★★☆
The Melbourne Shakespeare Company continues its 2026 season with a production of Eurydice by Sarah Ruhl. Directed by Gary Abrahams, Eurydice is a compelling reinterpretation of the Greek myth thanks to its beautiful production design, impressive use of live music and stellar performances.
In the original myth, Eurydice, as a character, exists as little more than an object of Orpheus’ desire. In this contemporary retelling, however, she is thrust into the central role.
Sarah Ruhl’s reinterpretation of the tale is a fantastic meditation on death and grief. It adds additional layers to the myth without abandoning the original foundations.
In the titular role, Aisha Aidara treats the audience to a performance that complements these layers. Her Eurydice is both naive and curious, confident and uncertain, joyous and sorrowful.
Joining her in the role of Orpheus is Tomàš Kantor, who brings their musical skills into the mix to make a big impact on stage. No small feat, given their journey into the underworld is more of a side plot.
The leading duo are backed by a strong supporting cast. John Voce’s performance as Eurydice’s father is steeped in grief and tragedy. His relationship with Eurydice becomes the true emotional core of the show.
Devon Braithwaite stuns as the King of the Underworld, with a performance that manages to walk the very delicate tightrope of being frightening and funny.
Rounding out the cast are Joshua Gordon, Fran Sweeney-Nash and Miles Paras as Big Stone, Little Stone and Loud Stone, respectively. This trio becomes an essential part of the production’s depiction of the dark and depressing underworld, bringing a lot of levity.
The musical elements add much to the production without drawing away from the central narrative. Kantor’s skills behind the piano are on full display, bringing delightful melodies. They receive additional support from the Stone trio, who throw their own instrumental skills into the mix.
Even more impressive are the moments where these talented performers make their characters perform badly. Orpheus does this in both grief-stricken and drunken moments. So too do the Stones when they never quite manage to speak in synch.
The performers are uplifted by excellent work from the team of production designers behind the scenes. The set, designed by Nathan Burmeister, is incredibly versatile. A small apartment bedroom takes centre stage, flanked by spaces forming street-level alleyways and the dank and dirty underworld.
During the show, large plastic sheets are introduced to the space, which primarily exist as a screen separating Eurydice and Orpheus, with one in the land of the living and the other in the land of the dead. It is a very effective and memorable visual effect.
Due to the nature of this space, there are a few sightline issues that became apparent. Audience members towards stage left would not have been able to see any of the brilliant shadow play occurring on the apartment’s wardrobe doors. Pillars native to the fortyfivedownstairs space also regularly blocked actors’ faces, regardless of where an audience member was seated.
Most of the production’s design elements are clearly handmade by passionate artists, so it became more apparent when something not so handmade appeared.
In a pivotal scene, the television in the corner of the room lights up, showing Eurydice running down a staircase before she trips and begins to fall. The background of the shot indicates this was filmed in the foyer of the venue.
It’s strange, then, that when the camera sharply pans down to follow Eurydice’s fall, the continuing stairwell spirals down multiple levels into darkness. This footage then loops repeatedly.
The uncanny appearance of the descending staircase indicates that this footage may have been achieved using some sort of generative AI tool. As more information comes out about the impact on both the environment and the livelihoods of artists, such practices are becoming increasingly controversial.
Putting those pain points to the side, Eurydice remains a compelling reimagining of the classic Greek myth. With beautifully integrated live music, imaginative set design and compelling performances, Melbourne Shakespeare Company has crafted an impressive and captivating production. It is impossible not to recommend it.
Eurydice is presented by Melbourne Shakespeare Company and runs to 14 June at fortyfivedownstairs. 45 Flinders Lane Melbourne Vic 3000.
Tickets: https://fortyfivedownstairs.com/event/eurydice/
Website: https://www.melbourneshakespeare.com/eurydice
Socials: https://www.instagram.com/melbourneshakespeare/
Photo credits: Nick Mick Pics
