mythology | The Sleepless Critic

REVIEW: Defying destiny in Fresh Ink Theatre Company’s ‘Orpheus and the Overworld’

Posted on May 17, 2024 by The Sleepless Critic

It’s Orpheus and Eurydice with a twist and doesn’t stop there. What hasn’t changed is that a portion of this classic mythological tale still hangs on a song or two.

Written by Dante Gonzales with creative direction by Shira Helena Gitlin, Fresh Ink Theatre Company presented Orpheus and the Overworld live and in person at Boston Center for the Arts in Boston, Massachusetts through Saturday, May 11. This gender bending and semi-interactive production was approximately two hours including a 10 min intermission and was not limited to the stage. Click here for more information.

The cast of ‘Orpheus and the Overworld’ Photo by Erin Solomon

Though still not a fan of mythology, feeling pretty fortunate to have recently reviewed Hadestown in Boston which is a musical retelling of the classic mythological tale of Orpheus and Eurydice before reviewing Orpheus and the Overworld. Like Hadestown, Orpheus and the Overworld has appeal beyond what fans of mythology would appreciate. Through Orpheus and Eurydice’s tale in Hadestown hung on a song, Orpheus and the Overworld’s story is a more complicated expansion with a few more key players in the mix. Both productions suggest that retelling the tale offers hope that maybe this time the ending might change even if the gods are still in charge.

Some of the highlights of Meg Lynch’s dynamic set design includes a club-inspired heart shaped glowing sign, sparkling couch overlay, a disco ball as well as colorful florals in a cheerful rural setting while Z Weber’s haunting sound design illuminates both the peerless joy and the powerful dread within this unpredictable retelling.

Matthew Suchecki as Apollo, Kulfi Jann as Hades, and Rebekah Brunson as Artemis in ‘Orpheus and the Overworld’ Photo by Erin Solomon

Decked out in sparkling bangle bracelets and red velvet Greek robed flair with imposing combat boots which highlights a portion of Mikayla Reid’s edgy Greek and dynamic costumes, Kulfi Jann depicts Hades, the god of the underworld and reigns over Club Olympus. Joining Hades is Lucy Bertolet as Cora mixing the drinks and Matthew Suchecki’s Apollo mixing the tunes as Rebekah Brunson’s Artemis looks on. This is a new age Hades and this is a new age club, but the snarky banter, gossip, commentary and quips between the gods and their occasional interaction and interference with the retelling of Orpheus and Eurydice have its own amusing moments.

Isabel Ginsberg as Eurydice and Elijah Brown as Orpheus in ‘Orpheus and the Overworld’ Photo by Erin Solomon

In Hadestown, Orpheus pursued her, but a few things have changed in this retelling. Isabel Ginsberg’s Eurydice is the pursuer though there is love between them. Hailing from California, Eurydice is more of a free spirit and determined to have what she wants though the odds are stacked against her. Elijah Brown’s Orpheus is hesitant, a loner, introspective and perhaps not that into Eurydice because Orpheus is weighed down by not only discovering music, but searching for belonging and identity. Ginsberg and Brown both have compelling vocals and make some beautiful acapella music together. However, love is not the foremost thing on Orpheus’s mind.

Much of this show explores the search for one’s true self, but two who are pretty certain of themselves are Junn as Hades and Brunson as Artemis. The goddess of wild animals, hunt, chastity and the moon, Brunson delivers a bold, daring and self assured performance delivering quite the fiery warning to Brown’s Orpheus that goes to show that Artemis should not be underestimated. Junn partially narrates and navigates this tale and is properly threatening and powerful. Beautiful sun god Apollo amiably portrayed by Suchecki and Bertolet as brilliant jack of all trades Cora have a sweet camaraderie as they search for their true selves which takes them to the most unexpected places.

From L to R Lucy Bertolet as Cora, Elijah Brown as Orpheus, and Matthew Suchecki as Apollo in ‘Orpheus and the Overworld’ Photo by Erin Solomon

Though it seems an inconsistent choice to weave science into an enchanted mythological tale, Orpheus and the Overworld extends its world far beyond this classic tale to become its own journey of self discovery while wrestling with one’s past. Orpheus and the Overworld’s contemporary themes offer some insight into growing into oneself and the struggle to defy one’s destiny to land somewhere beyond your control and find peace in whatever lies ahead…even if you’re a god.

With creative direction by Shira Helena Gitlin, Fresh Ink Theatre Company presented Orpheus and the Overworld live and in person at Boston Center for the Arts through Saturday, May 11. The gender bending and semi-interactive production show was approximately two hours including a 10 min intermission and was not limited to the stage. Click here for more information.

REVIEW: ‘Hadestown’ a soulful and eternally hopeful journey

Posted on April 26, 2024 by The Sleepless Critic

In Hadestown, there is nothing quite like a song.

Though I’m not normally a fan of mythology, Hadestown has a universal appeal as a soulful journey through faith and love with idealistic expectations and earnestness of what could be. A dream awakened of a love not tethered to a world of capitalism and poverty. Pure and untarnished was Orpheus and Eurydice.

Will Mann, Amaya Braganza, J. Antonio Rodriguez and Company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Directed intuitively by Rachel Chavkin with pulsing and dynamic choreography by David Neumann and stirring music, lyrics and book by Anaïs Mitchell, Tony award-winning Hadestown continues at the Boch Center Wang Theatre in Boston, Massachusetts live and in person through Sunday, April 28. The production is two hours and 30 minutes including one intermission. Click here for more information and tickets and here for its next stop on its national tour.

Will Mann and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Set in a New Orleans-style depression era with a steam punk vibe and fueled by Bradley King’s brilliant lighting, Hadestown explores a mystical world of gods, men, and the social divide of the haves and have nots. This world is dark in more ways than one, but King’s amazing lighting dances like the characters onstage through spotlights to glowing lanterns to strobe lights to illuminating headlights – fierce, occasionally harsh, luminous and lively. Accented with a wrought iron balcony, etchings and green walls, scenic designer Rachel Hauck infuses classic New Orleans finesse with hidden tunnels and functioning railroad whistle. A sparkling black umbrella is just a hint of the unique, Victorian, steam punk-inspired costumes by Michael Krass steeped in mostly black and white that emphasize vibrant bursts of color featuring pinstripes, metal, and leather.

J. Antonio Rodriguez and company in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

With a haunting horn and fiddle-infused soundtrack that blends folk, blues, and New Orleans-style jazz delivered by an intimate onstage band, Hadestown boasts a plethora of edgy, powerful and distinctive vocals unique to each character. Chant and Way Down Hadestown are especially catchy and inventive tracks in a unique collection of pops, clicks, and layered harmonies.

Will Mann in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Narrator, advisor, and consoler Will Mann affably portrays Hermes with self aware warmth and an interactive hint of wistfulness skillfully drawing the audience into this multilayered tale. With soaring vocals and an exuberant yet tough exterior, Amaya Braganza glows as wanderer Eurydice. Sporting blue hair, ripped stockings, and black boots, Braganza as Eurydice is vibrant and helplessly taken by naïve, romantic, humble, and spontaneous musician Orpheus, depicted with endearing charm by J. Antonio Rodriguez. Together they perform a soothing and vulnerable rendition All I’ve Ever Known. High tenor Rodriguez has an angelic falsetto hitting notes that seem otherworldly for Doubt Comes In.

J. Antonio Rodriguez and Amaya Braganza in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

With a rock star swagger and strut, Matthew Patrick Quinn breaths into Hades a rich and authoritative baritone and scene stealing wit behind thin dark shades. He wields the atmosphere driven by coal, capitalism, and soulless innovation especially prevalent in Quinn’s rendition of Why We Build a Wall. With electric blue eye shadow and a lustrous lime dress with florals, Lana Gordon is striking as Persephone with fervent vocals to match. Gordon performs a memorable duet with Quinn for How Long and navigates Our Lady of the Underground with a remarkable belt.

Lana Gordon and company in ‘Hadestown’ North American Tour 2023. Photo by T Charles Erickson

Marla Louissaint, Lizzie Markson, Hannah Schreer depict three mesmerizing and elusive Fates. They personify the conscience, the doubt, the fear, and the creeping proclamation of humanity’s shortcomings in a trio of chiming harmony. Burning into the psyche, their ascending vocal prowess is emphasized in an impressive and partially acapella rendition of Nothing Changes, soaring When the Chips are Down and in their role in Hadestown’s signature number Wait for Me.

J. Antonio Rodriguez, Marla Louissaint, Lizzie Markson and Hannah Schreer in ‘Hadestown’ North American Tour 2023 Photo by T Charles Erickson

Hadestown reflects the shortcomings of being human while the pettiness of the gods weighs in the balance of everyone’s fates culminating into a gripping finale. Eternally hopeful, Hadestown is a profound journey definitely worth the trip.

REVIEW: Motherhood goes under the microscope in Flat Earth Theatre’s powerful ‘Not Medea’

Posted on March 28, 2019 by The Sleepless Critic

The mind can be your greatest asset or your worst enemy. Flat Earth Theatre presents Allison Gregory’s powerful, semi-interactive drama Not Medea at the Black Box at the Mosesian Theatre for the Arts in Watertown, Massachusetts through March 30. Partially based on the classic Greek myth Medea, the show runs 100 minutes with no intermission. Click here for more information and tickets. This show has mature themes.

Flat Earth Theatre Not Medea Juliet Bowler

Juliet Bowler as Woman Photo courtesy of Flat Earth Theatre

As rain pelts an onstage window, water is caught in a bucket. This is an unintentional issue for director Elizabeth Yvette Ramirez, but this little wrinkle works well. A storm is brewing, but it doesn’t hold a candle to the storm brewing inside the mind of an overwhelmed mother portrayed convincingly by Juliet Bowler. Not without its lighthearted and sometimes relatably frank moments, Not Medea tackles love and motherhood in all its triumphs and complexity.

Allison Gregory’s Not Medea gives this classic a modern spin while cleverly keeping the earmarks of the classic intact. Not enough can be said about Juliet Bowler as Woman. She is a natural in this meaty and demanding role, navigating in a “show within a show” atmosphere. We all know this harried woman. She is rash, impetuous, and temperamental. She shares too much, talks too loud, and can’t be still only to hide that she is lost in more ways than one. She is also daring, which is indicative of her exclusively breaking the fourth wall, a modern convention usually reserved only for comedies.

Flat Earth Theatre 'Not Medea' Juliet Bowler and Gene Dante

Juliet Bowler as Woman and Gene Dante as Jason Photo courtesy of Flat Earth Theatre

Woman meets gallant and narcissistic Jason, portrayed with gusto and charisma by Gene Dante. They share an instant connection. However, as Woman remarks, “The Gods always have a plan.”

From child to maidservant, Cassandra Meyer skillfully takes on several roles during the production. Gentle and compassionate, she is the most impressive as Woman’s conscience.

Gene Dante as Jason, Cassandra Meyer as Chorus, and Juliet Bowler as Woman

Flat Earth Theatre continues Allison Gregory’s Not Medea through Saturday, March 30 at the Black Box at the Mosesian Center for the Arts, 321 Arsenal Street in Watertown, Massachusetts. Click here for more information and tickets.

Partially surrounded by a lush green lawn that gives it a campus feel, The Mosesian Center for the Arts houses a number of productions and exhibits during the year. Offering free parking and next door to Panera Bread, upcoming exhibitions include Five Stars Regional Exhibition and Please Touch the Art. The Underlings Theatre Company presents MacBeth April 5-13. Hosted by WBZ’s Jordan Rich, Upstage Lung Cancer’s annual fundraiser, Here’s the The Ladies: From Lady Day to Lady Gaga takes place for one night only on Thursday, April 18.. Click here to see all that Mosesian Center for the Arts has to offer.