Orpheus

by Wright & Grainger

Courtyard at Treasury 1860

Review by John Doherty, That Guy in the Foyer,

Thu, 13 March

Thu, 13 Mar - Sun, 23 Mar

★★★★★

Orpheus is a such a unique theatre experience! Created by Alex Wright and Phil Grainger, Orpheus dwells in a hybrid world where Ancient Greek mythology, love, and the pains of transitioning from the innocent wonders of childhood to the pragmatism of adulthood meld beautifully.

My first encounter with Orpheus was in 2019 in the charmingly rustic Barbara Hardy Garden of Holden Street Theatres.  I was struck by the evocative lyricism of Wrights text and Grainger’s rich music which provide, along with very specific covers of songs, a constant often deeply moving soundscape. I could see this show a hundred times!

This year sees Orpheus staged in Anna Thomas’ fabulous venue The Courtyard at Treasury 1860. This setting afforded the show a space reminiscent of grand homes of old Europe and England where bards would regale audiences with expansive tales of great significance. Staged in runway configuration, there is great scope to draw audience into the world of Orpheus. The storytelling is nothing less than the work of superb contemporary bards!

Orpheus commences with light, chatty banter between Wright and Grainger and the audience. There’s a lot of laughter as the bards recount their pasts and the origins of Orpheus while Grainger casually strums his acoustic guitar.

After a while, we get to the tale and Wright reads from a book we have learned is of significance to he and the story. The tone shifts, Wright and Graingers’ bodies become energized and the tale begins, poetically foreshadowing the death of Eurydice. An elderly man sitting on a bench is introduced and later proves to be a significant motif. Grainger launches into song, Wrights still, focused attention on him drawing ours to him also.  This device is used to great effect throughout the experience. Wright launches into rapid fire slam poetry, the text so well-crafted and delivered, we pick up on the emotional energy of protagonist, Dave, his life and his lost passion for music. The driving narrative informs that, with his loss of his childhood passion, Dave’s capacity to see life in colour diminished to a debilitating greyness and black and white. Turning thirty, Dave’s life is one of flat-lined ambition and passion, but during a visit to a Karaoke bar with ‘the lads,’ Dave is called upon to sing Bruce Springsteen’s “Dancing in the Dark” with a choky voice to portray Dave’s nervousness in singing in front of a crowd. Wright and Grainger invite the audience to sing along which, on this night, they did with gusto. Our bards are so invested in the tale, their bodies

Dave then encounters Eurydice; he can “see her colour.” The new couples’  love makes life sweeter, and we find ourselves propelled into the essence of the story of Orpheus and Eurydice. After six months Dave and Eurydice are married; celebrated in a song, “Colour Me In,” their joy knows no bounds. However, if you know “Orpheus and Eurydice” you know what follows: death, Hades, Cerberus and a rather unfortunate glance. Things don’t end well, and Orpheus is condemned to a terrible fate. Wright and Graingers’ Orpheus doesn’t stray far from that narrative. However, this iteration of the ancient myth is injected with such warmth, verve and joy it lifts our hearts and souls. Orpheus is a beautiful experience.

Go! See it!