Theatre / alison farina
Review: Orpheus and Eurydice, Suspension Bridge vaults
The newly discovered vaults beneath the Leigh Woods tower of the Clifton Suspension Bridge are a cathedral-high space laced with fabulous chandeliers of fine white stalactites. A subterranean void with incredible acoustics. It’s no surprise that theatre company Insane Root – known for their much-acclaimed Macbeth in Redcliffe Caves – were drawn to tell the story of Orpheus and Eurydice here, combining as it does a celebration of song and a visit to the dark netherworld ruled by Hades.
Under Hannah Drake’s direction, Insane Root have opted for a stripped-down version of the classic Greek myth, with Alison Farina’s script focusing on the central love story rather than the various adventures that Orpheus has in the fuller tale. Barely have the couple fallen in love (and made beautiful music together) than Eurydice (Hannah Douglas/Katy Sobey) is bitten by a snake and carried off to the land of the dead. Heartbroken Orpheus (Anthony Pinnick, pictured top) follows her there and, through the power of music (by Ellie Showering), manages to enchant even the Lord of the Underworld. A few plot twists, several songs and a couple of divine interventions later, the lovers are finally reunited for all eternity.
This is perforce an intimate production. The vault is only big enough for an audience of 12, and even then the actors are left with little more than a runway to perform on. Although the space itself is cavernously high, access is somewhat tortuous, and both audience and performers have to wear hard hats. It’s very different from a night out at the Hippodrome.
Yet it’s worth climbing down a ladder and wriggling through a low passage to get there. The production takes full advantage of the space’s acoustic perfection, voices rising up in an eerie four-part harmony that wraps itself around the audience like tendrils of mist. The play itself, though slight in content, is presented with great emotional power, all the more impressive when it’s delivered to an audience only a foot away. And well-established Bristol actor Chris Donnelly, always a forceful presence, is a treat in the dual role of both Hades and Zeus.
Ultimately, though, this production is as much about the experience and the venue as it is about the performance. It’s not often you get the chance to enjoy the ethereal, deep inside a Bristol landmark.
Orpheus and Eurydice continues until Sunday, March 19, with most performances now sold out. For more info and to book tickets, visit www.insaneroot.co.uk/orpheus
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