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| Lhorvie Nuevo and Marco Viaña |
Although publicized as a tale of love and loss, it was the ephemeral memory and how we cling to it before it fades that resonated greatly with me upon watching Tanghalang Pilipino’s 30th season ending production, Eurydice by Sarah Ruhl.
Adapted into Filipino by Guelan
Luarca, Eurydice retells through the
perspective of the titular character the Greek myth of Orpheus and his failed
attempt to reclaim his dead wife from the clutches of Hades in the Underworld.
And in the hands of director and stage designer Loy Arcenas, the Underworld is
a vast realm made intimate through an arena type staging with the audience
right on stage surrounding the action on three sides.
Playing the titular role is
Lhorvie Nuevo who has finally been given a lead part after playing numerous
supporting/minor roles in previous years as part of the Tanghalang Pilipino
Actors Company. Her run as Eurydice picks up from her strong performance in Pangarap sa Isang Gabi ng Gitnang Tag-Araw. Portraying her lover Orfeo is Tanghalang Pilipino’s
leading man Marco Viaña who is no stranger to the spotlight. At the performance
that I was able to catch, the part of Tatay was played by Audie Gemora.
Character actor Jonathan Tadioan showed his versatility by playing Hades and
Interesanteng Tao. Serving as the chorus were the three stones “bato” who on
that night were Doray Dayao, Aldo Vencilao, and Ybes Bagadiong. The trio of
Blanche Buhia, JV Ibesate, and Alfritz Blanche portray the stones on other
dates.
Right off the bat during the first
scene, the theme of memory made its presence felt when Orfeo insisted that his
lover Eurydice memorize a melody that he has composed. She had much difficulty
in getting both the melody and rhythm right despite Orfeo using different
techniques for her to nail his composition. This, for me, foretold how memory
was going to be integral to the play.
Eurydice’s father, a character
created by Sarah Ruhl, was introduced as someone who remembers his past. The
newly departed when they arrive in the Underworld are dipped into the river Lethe
wiping away their memories. But how he managed to preserve not only his
memories but also his ability to speak, read, and write like humans do remain a
mystery.
When Eurydice first set foot in the Underworld,
she exhibited a childlike quality and curiosity which is unlike the perceived
grimness of death. And having Hades be portrayed as a child
riding a bicycle echoed that of Eurydice's state. The three stones who tried in vain to thwart Eurydice’s
father’s plans to make a room and teach his daughter what he knows were also
childlike and were never menacing. With everyone childlike, the Underworld
didn’t seem like a bad place after all and oddly, it was Orfeo at the land of
the living, who looked miserable as he was in despair over the untimely death
of his wife.
One of the most touching moments
in the play for me were the walks down the aisle. First, it was an imaginary
one by Eurydice’s father. The second one, with Eurydice by his side, it was
already real and he was literally giving her away to the realm of the living.
It was this love between the father and a daughter, with all those memories
between them, that made Eurydice decide that she’d rather have that than
gunning for the unknown with Orfeo. It’s that memory once again. When the pain
was too much to bear for both father and daughter, they willingly gave up their
memories. And when no one remembers, that is when one truly dies. It’s no
wonder that some people try to have themselves immortalized and leave a legacy
so that they’ll be remembered forever.
Tanghalang Pilipino’s Eurydice by
Sarah Ruhl runs until March 5, 2017 at the Cultural Center of the Philippines’
Tanghalang Aurelio Tolentino (CCP Little Theater).
