#SHOWBIZ: A daughter's tale in the Underworld
WHAT happens when we stop gazing at the legendary musician who descended into the depths of Hades to rescue his bride, and instead turn our attention to the woman left behind?
When we shift our focus from the legendary Orpheus to his wife Eurydice, American playwright Sarah Ruhl's adaptation of the Greek myth offers a fresh, whimsical, and profound exploration of love, loss, and the intricate process of mourning. Rather than adhering to traditional, somber portrayals, the play presents the afterlife as a surreal, public swimming pool-like realm populated by contemporary figures and infused with absurd humor.
At the heart of the staging is a poignant narrative pivot, as the play delves into Eurydice's personal journey rather than Orpheus' heroic feat. After tragically dying on her wedding day and descending to the Underworld, she arrives bereft of memories, grappling with the struggle to recall her past life and lost abilities. There, she encounters her deceased father, shifting the focus to the tender reconciliation between a daughter and her parent navigating the ethereal realm of eternity.
Director Ghafir Akbar was drawn to the play because of its innovative approach in portraying an ancient story through the heroine's perspective. He emphasizes that while Orpheus is known for his devotion, the reinterpretation delves deeper into themes of loss, language, memory, and the painful process of saying goodbye. The psychological space of bereavement is masterfully framed through theatrical absurdity, allowing grief to be explored through a world that is simultaneously funny, strange, and deeply theatrical.
The play's unique approach extends to its comedic elements, with a trio of characters called the Stones functioning as the Greek Chorus within the Underworld. Unlike traditional choruses, these bureaucratic and sardonic "Lifeguards of the dead" provide a sharp social commentary while serving as a source of biting humor. The Lord of the Underworld is also given an eccentric and unsettling portrayal, abandoning the typical menacing archetype for a more nuanced and multifaceted character.
Language itself becomes a crucial aspect of the narrative, as souls within the afterlife forget their words, compelling characters to rely on speech, silence, and music for communication. This linguistic transformation adds another layer to the play's exploration of memory and meaning. The production remains faithful to Ruhl's original English text while embracing Malaysian performers and cultural sensibilities, resulting in a unique blend of humor and theatricality that resonates with local audiences.
Written by urgent.news from New Straits Times's reporting — not their text. Machine-written — may contain errors; check the original before relying on it.
