“Sliding into Hades”
Odyssey Theatre Ensemble
April 5 ““ June 10
“Don’t turn around!” Orpheus mutters to himself through gritted teeth as he ascends from Hades, the Greek underworld, with his once-deceased wife Eurydice ““ retrieved from death ““ in tow. He knows that if he turns around, he risks losing her forever.
“Let me go! Turn around!” shrieks Eurydice, anxious about manipulating death.
This Greek mythical dilemma ends, of course, with Orpheus turning around, losing his love, and regretting the decision for the rest of his life. But why does Orpheus regret his decision so much? Why can’t he accept Eurydice’s death and cherish the memories they once had? Does Orpheus even understand man’s control ““ or lack thereof ““ over death?
These questions and other philosophical musings about modern attitudes toward living, aging and dying in the context of the Greek myth of Orpheus and Eurydice are ambitiously broached in Odyssey Theatre Ensemble’s production of “Sliding Into Hades,” playing at the cobalt blue-colored theater at 2055 South Sepulveda Blvd. through June 17.
Produced, acted and directed by the members of the Koan Ensemble, the Odyssey’s resident ensemble company, “Sliding Into Hades” reflects the collaborative work of the metaphysically inclined crew, as the play expands upon what director Ron Sossi calls “the American penchant for denying the realities of morality.”
“Sliding Into Hades” does not just relay the Greek myth in a straightforward fashion, however. The ensemble expands upon the story by portraying Eurydice’s journey to Hades, detailing the loss of her living identity and the descent of her soul to the underworld as well as Orpheus’ expedition to retrieve Eurydice.
The play begins with Orpheus’ pivotal mistake, and from that point details the mythical story retrospectively, following each step of Orpheus and Eurydice’s experiences.
Three pairs of men and women of different ethnicities and ages, swathed in identical gray and white costumes, all play the roles of Orpheus and Eurydice, giving the Greek archetypal characters universality.
With moody blue and gray lighting, entering the intimate black box theater feels like entering the mythical realm of Hades.
This eerie undercurrent, however, did not affect the contemporary relevance of the production, as the mostly bare stage, the simple costumes and props and the modernized dialogue between Orpheus, Eurydice and the various other characters gives the play a decidedly postmodern feel.
The ensemble’s expressive delivery and flexibility in playing different roles throughout the production helps the viewer visualize the multi-layered, colorful journey into Hades.
Ensemble-member Beth Hogan especially stands out as she effortlessly moves in and out of her various roles as a drunken boatman guarding the river Styx, a middle-aged mentor to Eurydice, a smart-talking Pluto and, of course, Eurydice herself.
Even without an intermission, the 80-minute production moves quickly through its metaphysical musings.
At times, however, the stops on Eurydice and Orpheus’ journeys seem contrived; they don’t organically integrate into the original myth’s structure.
For example, when Orpheus finally reaches Pluto to discuss the deal to retrieve Eurydice, Orpheus and Pluto begin to discuss how we as living beings truly know we exist.
Although the dialogue is cleverly woven together, lines such as “Nothing is certain, nothing is known,” seem like they were pulled straight from pretentious coffeehouse discussion.
“Sliding Into Hades” may be a bit abstract for the average audience member, yet if an evening of heady insights into myths and contemporary philosophy is appealing, this trip into the underworld will surely leave you with plenty of intellectual fodder for a discussion over a Bruin Café latte.