Femininity is a strategic hopscotch between worlds. In a predominantly masculine political order, femmes create alternative covens for repose, play and danger. These moments of respite emerge unpredictably, brief exchanges of warmth and cynicism. Two friends hysterically running for a bus; two activists chanting with a sign.
No one knows this better than Eurydice, the wife of Orpheus who travelled to the Underworld. Nevertheless, we rarely get to hear her story. The classical telling of this myth is told from Orpheus’ perspective, leaving many questions unanswered. What are Eurydice motivations? Why does she really go to the Underworld? Which world does she prefer?
The Eurydice Project, at the Projects Arts Centre, aims to explore this ancient myth from Eurydice’s point of view. The project is an ambitious multimedia production involving physical theatre, music and visual projection. I spoke to writer Joanna Crawley, director Lee Wilson and actress India Mullen to hear about their motivations and preparations for the production.
Joanna, when did your planning begin and how did you meet each-other?
I did my first show three years ago with the composer Jane Deasy and choreographer Monika Bieniek, and we really wanted to work together again. We wanted to do something which was epic, large-scale and fully sensually stimulating. We also wanted to make something that was driven by a female narrative. In the classical telling, Eurydice is quite passive and without moral agency and we wanted to change that.
India, how did you find preparing for the role of Eurydice?
I really enjoyed getting the chance to explore such a strong female character. We did a lot of choreography the first day of rehearsal, as movement informs a lot of what this character is about. I really enjoyed working in physical theatre; I enjoyed allowing the different mediums to push me in different ways. I also learnt a lot politically from everyone in the team.
Lee, how did you feel about the musical element of this performance?
I felt excited to be part of a project where the music drives the emotion and the action. It’s different to working in a musical, where scenes break into music. In this project, music is driving the whole narrative. You can’t get more epic than that! I dig spoken word combined with music, I think the audience will dig it too – it gives a real tingle in the spine effect!
Joanna, do you view this as a feminist retelling of a classical myth?
Yes, absolutely. Myths are full of terrible sentiments and connotations, from a feminist point of view: infidelity, rape, betrayal. In the original Eurydice myth, Eurydice dies trying to run away from a man who is trying to rape her. We want to portray a world where Eurydice and other female characters are deeply affected by a misogynistic culture. It was great having an almost entirely female team as well. I’m a gender studies graduate, so these issues are really important to me and always inform my writing.
Lee, do you have any warnings for the audience?
I think the audience should just open up every sense and embrace everything that’s in this myth. There is no way you will be bored at this show; you will be at the edge of your seats. Going to a show, I look for moments that will shock, make me think, laugh or cry – and this show has plenty of those moments. You’re going to be ‘wowed’ at least once!
India: you might even get your hearts broken!
I tried to find out from Joanna how Eurydice feels about the Underworld and whether she wants to stay. She wouldn’t respond except to say “she moves worlds, that’s for sure”. Given the epic scale of this project, I think Eurydice might not be the only one moving worlds when it opens on Wednesday.
