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Eurydice
“Eurydice is a luminous retelling of the Orpheus myth from his beloved wife’s point of view. Watching it, we enter a singular, surreal world, as lush and limpid as a dream—an anxiety dream of love and loss—where both author and audience swim in the magical, sometimes menacing, and always thrilling flow of the unconscious… Ruhl’s theatrical voice is reticent and daring, accurate and outlandish.” —John Lahr, New Yorker
A reimagining of the classic myth of Orpheus through the eyes of its heroine. Dying too young on her wedding day, Eurydice journeys to the underworld, where she reunites with her beloved father and struggles to recover lost memories of her husband and the world she left behind.
A reimagining of the classic myth of Orpheus through the eyes of its heroine. Dying too young on her wedding day, Eurydice journeys to the underworld, where she reunites with her beloved father and struggles to recover lost memories of her husband and the world she left behind.
100 pages, Kindle Edition
First published January 1, 2003
About the author
Sarah Ruhl
34 books524 followersSarah Ruhl (born 1974) is an American playwright. She is the recipient of a MacArthur Fellowship and the PEN/Laura Pels International Foundation for Theater Award for a distinguished American playwright in mid-career.
Originally, she intended to be a poet. However, after she studied under Paula Vogel at Brown University (A.B., 1997; M.F.A., 2001), she was persuaded to switch to playwriting. Her first play was The Dog Play, written in 1995 for one of Vogel's classes. Her roots in poetry can be seen in the way she uses language in her plays. She also did graduate work at Pembroke College, Oxford.
In September 2006, she received a MacArthur Fellowship. The announcement of that award stated: "Sarah Ruhl, 32, playwright, New York City. Playwright creating vivid and adventurous theatrical works that poignantly juxtapose the mundane aspects of daily life with mythic themes of love and war."
Originally, she intended to be a poet. However, after she studied under Paula Vogel at Brown University (A.B., 1997; M.F.A., 2001), she was persuaded to switch to playwriting. Her first play was The Dog Play, written in 1995 for one of Vogel's classes. Her roots in poetry can be seen in the way she uses language in her plays. She also did graduate work at Pembroke College, Oxford.
In September 2006, she received a MacArthur Fellowship. The announcement of that award stated: "Sarah Ruhl, 32, playwright, New York City. Playwright creating vivid and adventurous theatrical works that poignantly juxtapose the mundane aspects of daily life with mythic themes of love and war."
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Displaying 1 - 30 of 357 reviews
July 20, 2024
A wedding is for daughters and fathers. The mothers all dress up, trying to look like young women. But a wedding is for a father and daughter. They stop being married to each other on that day.
Eurydice ~~ Sarah Ruhl
3.5/5
There’s no question that Sarah Ruhl’s Eurydice was cathartic for the playwright; Ruhl wrote it in an attempt to deal with the death of her father. So the Eurydice on written page is Ruhl and the character known simply as Her Father is not only ,I>Eurydice’s, but Ruhl’s own father as well. As an exercise in personal nostalgia and a way to try to bridge the gap between the living and the dead the play is interesting; but, I don’t find it to be compelling.
If you close your eyes and meditate on Eurydice as a gentle, delicate poem of a very personal nature, let it wash over you, and become swept away by Ruhl’s interesting visuals, you’ll likely enjoy following Eurydice the character.
At her most basic, this Eurydice is a proper, undemanding, and uncomplicated young lady who is also intelligent and analytical, wishing only to have her happiness fulfilled by two men: the living Orpheus and her dead father. Yet as focal as Orpheus is to this tale, he still has to make room for daddy. He shows that though the young man worships Eurydice, she will always take a back seat to his music, which takes him far away from her even when they’re alone together. The play certainly delivers much food for thought regarding love, life, and death, but in the end I just didn’t care for any of these people.
Eurydice ~~ Sarah Ruhl
3.5/5
There’s no question that Sarah Ruhl’s Eurydice was cathartic for the playwright; Ruhl wrote it in an attempt to deal with the death of her father. So the Eurydice on written page is Ruhl and the character known simply as Her Father is not only ,I>Eurydice’s, but Ruhl’s own father as well. As an exercise in personal nostalgia and a way to try to bridge the gap between the living and the dead the play is interesting; but, I don’t find it to be compelling.
If you close your eyes and meditate on Eurydice as a gentle, delicate poem of a very personal nature, let it wash over you, and become swept away by Ruhl’s interesting visuals, you’ll likely enjoy following Eurydice the character.
At her most basic, this Eurydice is a proper, undemanding, and uncomplicated young lady who is also intelligent and analytical, wishing only to have her happiness fulfilled by two men: the living Orpheus and her dead father. Yet as focal as Orpheus is to this tale, he still has to make room for daddy. He shows that though the young man worships Eurydice, she will always take a back seat to his music, which takes him far away from her even when they’re alone together. The play certainly delivers much food for thought regarding love, life, and death, but in the end I just didn’t care for any of these people.
September 27, 2011
I actually enjoyed it in an absurdist kind of way. I like Sarah Ruhl's attitude that things don't have to make sense. I like the dingy, waterstained quality of this adaptation of a historically majestic myth. I like how it encapsulates real feelings, like feelings on dying and forgetting and negotiating our perceptions of other people. I like the lyrical quality of the whole play, including the stage directions, which one feels while reading were written specifically for the reader and not as directions for the stage at all. The repetition and abstractness of some of the stage directions makes them charmingly personal for the reader and completely unnecessary for actual staging. I also loved the impossibility of some of her visions, and found myself wondering over and over how some of it could ever be displayed effectively on the stage (for instance, when she talks about fruit falling from the sky into the river, or maybe only in our imagination).
I didn't like it on first read - it was, at first, too bizarre. I couldn't see the point, especially as it contrasts with Ovid's Orpheus. However I realized after some thought that the point (or, maybe, a point) is that sometimes things are pointless. Sometimes love isn't enough to make the story happy in the end. Sometimes stories, like real life, can be anticlimactic and tragically mundane.
I didn't like it on first read - it was, at first, too bizarre. I couldn't see the point, especially as it contrasts with Ovid's Orpheus. However I realized after some thought that the point (or, maybe, a point) is that sometimes things are pointless. Sometimes love isn't enough to make the story happy in the end. Sometimes stories, like real life, can be anticlimactic and tragically mundane.
April 17, 2018
There’s an undeniable pathos at the heart of this play that I think is informed so strongly by Ruhl’s personal experiences it almost made me question the need for this to be disguised as Eurydice’s story. This felt more like I was reading a poetry collection than a play, which was fine, albeit not what I thought I’d signed up for. The climactic scene between Orpheus and Eurydice was the highlight for me, though clearly there was so much tenderness put into the relationship between Eurydice and her father. Ruhl’s dialogue is incisive and dreamlike all at once and this was a pleasure to read in many ways, but ultimately where it didn’t totally connect for me was that it didn’t feel grounded enough in its source material.
September 8, 2019
3/5stars
not sure how much i enjoyed this adaptation of the original myth but i have to do a whole project on it so theres that
not sure how much i enjoyed this adaptation of the original myth but i have to do a whole project on it so theres that
May 5, 2016
I really want to see this on stage.
March 24, 2017
Sarah Ruhl has reimagined the myth of Orpheus though the eyes of Eurydice. You may wonder why a former thespian such as I disliked this so much. It’s simple; it smacked so much of the theatre of the absurd we used to do so much of back when I was a teen. I thought it was rather cool when I was a teen, but tired of it quickly. I wouldn’t like the most brilliant production of it. Nevertheless there are some stellar quotes on the back cover, selected from reviews from such periodicals as the New York Times and the New Yorker.
So, if you loved the theatre of the absurd (if you are old enough to remember it or are familiar with it somehow), or love weird plays or just love Sarah Ruhl’s work, then by all means, take a gander at this. I am sure there are people who love this. It’s a good thing this is so short, so I was able to force myself to read it for a group read. Now that I’m done, I’m glad I read it so I know what it is. Give me the original Orpheus any day of the week over this one, and I can’t say as I’m big that sort of thing as I used to be, either.
So, if you loved the theatre of the absurd (if you are old enough to remember it or are familiar with it somehow), or love weird plays or just love Sarah Ruhl’s work, then by all means, take a gander at this. I am sure there are people who love this. It’s a good thing this is so short, so I was able to force myself to read it for a group read. Now that I’m done, I’m glad I read it so I know what it is. Give me the original Orpheus any day of the week over this one, and I can’t say as I’m big that sort of thing as I used to be, either.
May 15, 2016
Review of print edition, May 2016
I enjoyed the print edition of this play more than the performance reviewed below. However, it still was a more of an absurdist version of the Orpheus & Eurydice tale than the feminist view I had hoped for. But at least reading it, I could skim over some of the parts I found dull in the production (such as the scene with the father building the room of string).
Review of video, April 2016
While I was waiting to get my print copy from the library, I was told about this video of a production of the play by Rice University students on YouTube.
http://www.youtube.com/watch?v=mz9nGs...
Unfortunately, now that I have seen this performance I am not interested in reading the play! I had hoped to have more of Eurydice's view of events but instead this is a strange absurdist take on the traditional tale. For example, there is a fairly long scene in the second act in which there is no dialogue; Eurydice is in Hades doing hopscotch while her father is 'building' her a room with some string and the 3 stones (Ruhl's version of the Greek chorus) are sitting and watching. Boring...
And a minor detail to quibble about but why, in this quasi-modernized rendering of the story of Orpheus and Eurydice, does Eurydice have to go to a pump to get water when people are living in high rises with elevators?
I enjoyed the print edition of this play more than the performance reviewed below. However, it still was a more of an absurdist version of the Orpheus & Eurydice tale than the feminist view I had hoped for. But at least reading it, I could skim over some of the parts I found dull in the production (such as the scene with the father building the room of string).
Review of video, April 2016
While I was waiting to get my print copy from the library, I was told about this video of a production of the play by Rice University students on YouTube.
http://www.youtube.com/watch?v=mz9nGs...
Unfortunately, now that I have seen this performance I am not interested in reading the play! I had hoped to have more of Eurydice's view of events but instead this is a strange absurdist take on the traditional tale. For example, there is a fairly long scene in the second act in which there is no dialogue; Eurydice is in Hades doing hopscotch while her father is 'building' her a room with some string and the 3 stones (Ruhl's version of the Greek chorus) are sitting and watching. Boring...
And a minor detail to quibble about but why, in this quasi-modernized rendering of the story of Orpheus and Eurydice, does Eurydice have to go to a pump to get water when people are living in high rises with elevators?
January 14, 2024
not my all time favorite adaptation of the story, but it’s interesting nonetheless.
it doesn’t Quite make sense all the time which is a fun choice for this story. my major critique is that i didn’t find myself truly enjoying ANY of the characters except the father, who isn’t even part of the original tale. maybe if the characters were more fleshed out i would have enjoyed them and the book more, but i just don’t think they got enough time to become characters of their own.
it doesn’t Quite make sense all the time which is a fun choice for this story. my major critique is that i didn’t find myself truly enjoying ANY of the characters except the father, who isn’t even part of the original tale. maybe if the characters were more fleshed out i would have enjoyed them and the book more, but i just don’t think they got enough time to become characters of their own.
February 23, 2022
A very moving play that is also sometimes very funny. I would love to see a production of it but even in the reading I was deeply moved and near tears.
This is a telling of the story of Orpheus and Eurydice from the point of view of Eurydice, with the insertion of her father and their relationship. The "chorus" are three stones (who talk, of course).
As usual, Orpheus is often in his own head listening to his music while Eurydice is in the world, somewhat abandoned by Orpheus lost in his own creativity. What happens to her, and what the world of the dead is portrayed as, is engrossing and affecting.
Definitely worth reading--and I will keep my eyes open for any production. I could almost hear the lines said aloud and see the action. The introduction provides many excellent pointers on how the effects have been managed in different productions and was an interesting piece of writing in its own right.
This is a telling of the story of Orpheus and Eurydice from the point of view of Eurydice, with the insertion of her father and their relationship. The "chorus" are three stones (who talk, of course).
As usual, Orpheus is often in his own head listening to his music while Eurydice is in the world, somewhat abandoned by Orpheus lost in his own creativity. What happens to her, and what the world of the dead is portrayed as, is engrossing and affecting.
Definitely worth reading--and I will keep my eyes open for any production. I could almost hear the lines said aloud and see the action. The introduction provides many excellent pointers on how the effects have been managed in different productions and was an interesting piece of writing in its own right.
November 28, 2020
I am intrigued. So much going on here, including the theater of the absurd. Life v Death. Young Love v Familial Love. In the Mkment v Forgetfulness. Ascending and Descending. Small and Large. Beginnings and Bereavements. And still more yet. What can parts of this play mean? How do the parts fit together.
December 28, 2023
Yes I am changed. The sound of water then silence!!!!
June 18, 2024
“this is what it is to love an artist: the moon is always rising above your house. the houses of your neighbors look dull and lacking in the moonlight. but he is always going away from you. inside his head there is always something more beautiful”
March 29, 2021
Sad.
Would love to see the actual play sometime.
Would love to see the actual play sometime.
August 7, 2016
There's cleverly retelling a classic story, and then there's purposefully trying very, very hard to be artsy and outside the box that leads to a certain level of pretentiousness and makes for a reading experience that can be summed up as "bleh." This is most definitely the latter. After I read it in one bored sitting, I put it down and napped. If I—someone who has to direct this show—was put to sleep by reading the script, how is an audience supposed to stay awake watching this unfold onstage?
This show's language is desperately reaching for cleverness and an abstract quality. It achieved one of those. What saved it from getting one star was that it does have some genuinely clever or good moments, but they're so muddled under Sarah Ruhl's attempt at being contemporary and artistic that it's genuinely not worth it.
Most of the characters range from annoying, bland, or just not at all worth someone's time, with Eurydice's dead father being the one exception to this. He's genuinely the only character that Ruhl writes realistically. Or interestingly. The language immediately puts a barrier between the characters and the audience, and you have to do a lot of mental connecting the dots to figure out what the heck anyone is talking about. Many of the conversations are halting, awkward and unrealistic. It pulls the reader/intended audience right out of the action (if you could even call it "action"). Much of it seems to be meant to be played straight on the stage, but as both a director of this production and an actor myself, it seems like much of it will have to be played sarcastically in order to even make any semblance of sense to an audience.
This script was droll, pretentious, and a waste of time. Thank god I have many months before my production begins rehearsals.
UPDATE: I've found out that this was written as a way for Ruhl to cope with the death of her own father. This makes sense, because the whole play seems to be written in one passionate point of time where no editing happened whatsoever. So even though it's a passion project... it's quite horrible and shouldn't have been published. Much like Go Set a Watchman in that regard, actually.
This show's language is desperately reaching for cleverness and an abstract quality. It achieved one of those. What saved it from getting one star was that it does have some genuinely clever or good moments, but they're so muddled under Sarah Ruhl's attempt at being contemporary and artistic that it's genuinely not worth it.
Most of the characters range from annoying, bland, or just not at all worth someone's time, with Eurydice's dead father being the one exception to this. He's genuinely the only character that Ruhl writes realistically. Or interestingly. The language immediately puts a barrier between the characters and the audience, and you have to do a lot of mental connecting the dots to figure out what the heck anyone is talking about. Many of the conversations are halting, awkward and unrealistic. It pulls the reader/intended audience right out of the action (if you could even call it "action"). Much of it seems to be meant to be played straight on the stage, but as both a director of this production and an actor myself, it seems like much of it will have to be played sarcastically in order to even make any semblance of sense to an audience.
This script was droll, pretentious, and a waste of time. Thank god I have many months before my production begins rehearsals.
UPDATE: I've found out that this was written as a way for Ruhl to cope with the death of her own father. This makes sense, because the whole play seems to be written in one passionate point of time where no editing happened whatsoever. So even though it's a passion project... it's quite horrible and shouldn't have been published. Much like Go Set a Watchman in that regard, actually.
Read
June 12, 2018DNF so far. Bis später!
Q:
Orpheus never liked words. He had his music. He would get a funny look on his face and I would say what are you thinking about and he would always be thinking about music.
If we were in a restaurant sometimes Orpheus would look sullen and wouldn't talk to me and I thought people felt sorry for me. I should have realized that women envied me. Their husbands talked too much.
But I wanted to talk to him about my notions. I was working on a new philosophical system. It involved hats.
This is what it is to love an artist: The moon is always rising above your house. The houses of your neighbors look dull and lacking in moonlight. But he is always going away from you. Inside his head there is always something more beautiful.
Orpheus said the mind is a slide ruler. It can fit around anything. Show me your body, he said. It only means one thing. (c)
Q:
Orpheus never liked words. He had his music. He would get a funny look on his face and I would say what are you thinking about and he would always be thinking about music.
If we were in a restaurant sometimes Orpheus would look sullen and wouldn't talk to me and I thought people felt sorry for me. I should have realized that women envied me. Their husbands talked too much.
But I wanted to talk to him about my notions. I was working on a new philosophical system. It involved hats.
This is what it is to love an artist: The moon is always rising above your house. The houses of your neighbors look dull and lacking in moonlight. But he is always going away from you. Inside his head there is always something more beautiful.
Orpheus said the mind is a slide ruler. It can fit around anything. Show me your body, he said. It only means one thing. (c)
March 9, 2010
This one of the most beautiful and moving things I have ever read. The language is exquisite and the words touched me so deeply - this play will stay with me always. I loved it immensely!
February 18, 2022
My take on this spare, yet thoughtful play is that the effectiveness depends almost entirely on the voices, which must have extreme individuality in order to have the kind of impact the play needs.
January 27, 2024
This play is kind of revelatory for me. Like the first step in becoming obsessed with reading plays. Another play that I cannot wait to see be performed, especially with my close friend as Eurydice. It holds so much potential in its conception depending on who puts it own, just imagining how the Stones would look, they could look absolutely any way imaginable. I love the splicing of this Ancient Greek myth with, like, 50s Americana? It's so personal and the writing is so playful and sincere. Also can't wait to see production design and hear the music. I never know how to end my reviews and I never have enough to say but just wow, my takeaway this first read is that love is trivial but... so is living so, might as well play the game.
January 11, 2024
What I talk about, when I talk about masterpieces.
شاهکار! پر از احساس، زیبا و ظریف و مینیمالیست.
سومین نمایشنامهایه که از سارا رول میخونم و عالی بود.
اگر به آثار ابزورد و مینیمال و سوررئال علاقه دارید، حتماااا پیشنهاد میکنم.
عاشق طرز نگارشش شدم. مخصوصا حالت نامهنگاری بودنش.
این نامهای که توی نمایشنامه خوندم به نظرم عاشقانهترین چیزی بود که خوندم:
ارفئوس:
اریدیس عزیزم،
خیلی تعجب کردم که تو جهان زیرزمینی دیگه نمیتونی کتاب بخونی.
[ارفئوس مجموعهای از آثار شکسپیر را با یک رشته نخ بلند در دست دارد. او کتابها را به آرامی روی زمین میاندازد.]
با ترجمه مازیار معاونی خوندم.
شروع: چهارشنبه 1402.10.20
پایان: پنجشنبه 1402.10.21
شاهکار! پر از احساس، زیبا و ظریف و مینیمالیست.
سومین نمایشنامهایه که از سارا رول میخونم و عالی بود.
اگر به آثار ابزورد و مینیمال و سوررئال علاقه دارید، حتماااا پیشنهاد میکنم.
عاشق طرز نگارشش شدم. مخصوصا حالت نامهنگاری بودنش.
این نامهای که توی نمایشنامه خوندم به نظرم عاشقانهترین چیزی بود که خوندم:
ارفئوس:
اریدیس عزیزم،
خیلی تعجب کردم که تو جهان زیرزمینی دیگه نمیتونی کتاب بخونی.
[ارفئوس مجموعهای از آثار شکسپیر را با یک رشته نخ بلند در دست دارد. او کتابها را به آرامی روی زمین میاندازد.]
با ترجمه مازیار معاونی خوندم.
شروع: چهارشنبه 1402.10.20
پایان: پنجشنبه 1402.10.21
February 17, 2021
The play had an extremely interesting concept. The set design really came alive in my mind with the descriptions and more abstract feel of the underworld.
I loved the spin it took on the myth of Eurydice and Orpheus, but I didn't feel quite as engaged as I'd hoped I would. It was actually quite monotonous at times.
I loved the spin it took on the myth of Eurydice and Orpheus, but I didn't feel quite as engaged as I'd hoped I would. It was actually quite monotonous at times.
March 13, 2024
Quirky, but it made me cry. There's so much to think about and chew on after, lots of strange visuals and sound directions. I thought the relationship between Eurydice and her father was more moving than the scene portraying the main tragedy of the source material, which was also unusual.
September 17, 2023
the absolute BEST play i’ve ever read. i violently sobbed. good job i cried in front of my boyfriend
May 4, 2024
*3.75 stars*
August 24, 2024
i’m sobbing??
i read this between the hours of 10p and 11:30p last night and in my half-asleep state this play made me feel like i was hallucinating.
re-reading again tonight.
i read this between the hours of 10p and 11:30p last night and in my half-asleep state this play made me feel like i was hallucinating.
re-reading again tonight.
March 17, 2024
MY GOD IM SO LONELY SO I OPEN THE WINDOW TO HEAR SOUNDS OF PEOPLE
January 15, 2022
A beautiful retelling of the story of Eurydice--mostly from Eurydice's perspective. Like The Trojan Women (which I read right before it) it is surreal, but unlike The Trojan Women it has its own internal logic, rules and the surrealism adds to the emotional power and profundity of the story.
The biggest thing Sarah Ruhl introduces into the story is Eurydice's relationship with her father. At first he is dead, she is alive, and he is trying to write her letters she never gets. Then she is dead, at first like all dead people she forgets everything but he brings back her memories, ability to read and more making a tender reunion in the underworld. But then in the end when she is cast back both her father and her, like everyone else, lose their memories, their language, and their relationship to each other again. All of it was very moving about lost loved ones, communicating with them and also about forgetting.
The love story between Orpheus and Eurydice is also beautiful, with him sharing music, tying a string around her ring finger, and lots of short lines of mutual understanding and then speaking/singing together.
I would really to love to see this play, either done in a stark minimalist way that let's one enjoy the language or in a more elaborate production that fully depicts things like the elevator with rain inside on the way to the underworld.
The biggest thing Sarah Ruhl introduces into the story is Eurydice's relationship with her father. At first he is dead, she is alive, and he is trying to write her letters she never gets. Then she is dead, at first like all dead people she forgets everything but he brings back her memories, ability to read and more making a tender reunion in the underworld. But then in the end when she is cast back both her father and her, like everyone else, lose their memories, their language, and their relationship to each other again. All of it was very moving about lost loved ones, communicating with them and also about forgetting.
The love story between Orpheus and Eurydice is also beautiful, with him sharing music, tying a string around her ring finger, and lots of short lines of mutual understanding and then speaking/singing together.
I would really to love to see this play, either done in a stark minimalist way that let's one enjoy the language or in a more elaborate production that fully depicts things like the elevator with rain inside on the way to the underworld.
March 15, 2024
I love this play. Ruhl’s brilliant poetics weave together the complexities of life in such a beautiful way. Her reimagining of the Greek myth is poignant, honest, and reveals how we can still gain wisdom and insight from ancient stories.
May 29, 2016
I've been trying to think of how to write a review without giving away too many plot points.
This play is genius in many ways. I hope to see it done on stage one day. It would be astounding.
I loved the Stones as the Chorus. It worked so well with the quirkiness of the props and the Underworldliness of the staging.
I also enjoyed the full-circle the story took, the idea of what will be, will be and one cannot avoid one's fate, good or bad.
The strength of Love and how it can overcome all obstacles is a recurring theme and beautifully told through the acts of reading, building, writing. Also the pain of Loving what one can no longer have/see/hold.
Truly a wonderful story. I love that it was told from Eurydice's side. I haven't read Orpheus' story but have naturally heard it. Eurydice's story is touching and beautiful.
This play is genius in many ways. I hope to see it done on stage one day. It would be astounding.
I loved the Stones as the Chorus. It worked so well with the quirkiness of the props and the Underworldliness of the staging.
I also enjoyed the full-circle the story took, the idea of what will be, will be and one cannot avoid one's fate, good or bad.
The strength of Love and how it can overcome all obstacles is a recurring theme and beautifully told through the acts of reading, building, writing. Also the pain of Loving what one can no longer have/see/hold.
Truly a wonderful story. I love that it was told from Eurydice's side. I haven't read Orpheus' story but have naturally heard it. Eurydice's story is touching and beautiful.
June 24, 2010
I can't believe how much this play affected me! Eurydice, Father, and Orpheus each show determination and patience and creativity to not lose their loves, and each eventually, gently succumbs to loss.
On another note,who knew the River Styx begins in Bettendorf, IA?!
This is not the first time I've seen or read a Greek myth updated to explore the father-daughter relationship, but it's definitely one of the better attempts. As a director, I'm intrigued by the potential for characterization through action that is only stated in one line here or there in the play. There's a lot of freedom to create in a work like this. This definitely goes on my must-do list.
On another note,who knew the River Styx begins in Bettendorf, IA?!
This is not the first time I've seen or read a Greek myth updated to explore the father-daughter relationship, but it's definitely one of the better attempts. As a director, I'm intrigued by the potential for characterization through action that is only stated in one line here or there in the play. There's a lot of freedom to create in a work like this. This definitely goes on my must-do list.
September 7, 2024
This was SO fucking tender mi vorrei ammazzare.
L'acqua per rappresentare l'atto di dimenticare, la tenerezza dell'amore di un padre per una figlia e di una figlia per un padre. Questo retelling è triplica la tragedia, non importa quanto i personaggi si sforzino, è sempre troppo tardi.
Grazie al mio pezzo di cuore Lamis per avermela consigliata, essendo una play vorrei tantissimo poterla vedere anche a teatro perché secondo me l'impatto emotivo schizzerebbe alle stelle, ma per ora mi accontento di averla letta e basta.
(questa copertina fa schifo al cazzo è orrenda e has zero to do with the vibe of the book va be non c'era nessun'altra edizione )
L'acqua per rappresentare l'atto di dimenticare, la tenerezza dell'amore di un padre per una figlia e di una figlia per un padre. Questo retelling è triplica la tragedia, non importa quanto i personaggi si sforzino, è sempre troppo tardi.
Grazie al mio pezzo di cuore Lamis per avermela consigliata, essendo una play vorrei tantissimo poterla vedere anche a teatro perché secondo me l'impatto emotivo schizzerebbe alle stelle, ma per ora mi accontento di averla letta e basta.
(questa copertina fa schifo al cazzo è orrenda e has zero to do with the vibe of the book va be non c'era nessun'altra edizione )
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