Anna Burnside reviews a 'relentless' production.
Moving the 2024 underworld to the bottom of an internet wormhole makes perfect sense. That’s where Òran must go to rescue his friend Euan, in a modern day retelling of the myth of Orpheus and Eurydice.
Eurydice was Orpheus’s wife. Euan is Òran’s best friend, beset by online bullies, then lost in the depths of their toxic world.
On his way to redemption, Òran must acknowledge his own failings and foibles and face up to the part he played in Euan’s pain.
Writer Owen Sutcliffe delivers the story in an almost-rhyming performance poetry style that throws up some lumpy lines but drives along at a ferocious rate. Performer Robbie Gordon starts with the volume at 90 and keeps turning it up.
In the sweaty metal box venue of Pleasance Baby Grand, with a neon portal and heavy reverb sound effects, this is a lot. Audience participation elements bring some levity, and changes of pace, but it is relentless.
Gordon does a great job, charming the audience into drawing wolves and repeating Alan Partridge catchphrases. He operates the tech desk, uncooperative mic and all, while performing.
This is hell, version 2024, convincingly realised.
Òran performs at the Pleasance Courtyard from 1515-1615 until August 25, 2024.
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