Review: Orpheus in the Underworld (Offenbach/Vintage Duck)

If you truly believe that Opera is for the older generation, monocle-wearing wine swillers and musical technicians, I could only assume that you’ve never frozen as a burly bat-wielding Mars glares at you with his tattoo-framed eyes, averted your eyes as the sexually malevolent Pluto catcalls lecherously at the seductive Venus (standing fiercely on the empty chair to your left) or felt immediate pity for a hunchbacked Radamanthus leans in just a little too close. And why would you? Such things are strangely interactive (perhaps even predatory!) and uncommon at best. Nevertheless, Vintage Duck have chosen to explore the strange connotations their name suggests and restage Orpheus in the Underworld (originally scored by Offenbach and arranged for rock orchestra by Andy Peterson) in the Hades of the modern world, the junkyard. Pluto, the guardian of Hades, is portrayed by Will Stavert, a man who infers pirate as much as he does grizzly bear, growling and groping his way toward usurping the throne. No longer is Orpheus a lute-swinging romantic (‘the father of songs’ in Greek mythology), instead portrayed as indie-rock god by Sam McNeill of local band Saving Grace, complete with sweeping mo-hawk, gas can guitar and vicious black sideburns.

The Orpheus in the Underworld cast having some fun in rehearsals.

The show stopping scene of Orpheus was flawlessly staged in the tradition of small theatre. As Orpheus and Public Opinion (Lauryl Trenholme-Pihl) travelled in their shopping trolley “boat” towards Mount Olympus, the cast manipulated translucent blue fabric in waves to create an ocean complete with marionette fish and a convincing seagull squawk. In fact, the strongest pieces in Orpheus were those that engaged with the whole cast, coming together to present a refreshing idea, something Nate Gilkes of Vintage Duck has proven to be his forte. Such arrangements and adaptations of the original performance are certainly notable, including Mars’s brief explanation of the situation using the theoretical construct of “phenomenonology,” Orpheus’ penchant for licking Eurydice’s face and Pluto’s metal belt buckle which simply read “Pimp.” Rather than elaborate too deeply on the intricacies of the show, there are four performances in this production which, in their proficiency and potency, beg to be mentioned. These are Orpheus (Sam McNeill), Pluto (Will Stavert), Eurydice (Viv Conacher) and Public Opinion (Lauryl Trenholme-Pihl.)

Sam McNeill graced the stage in true heroic style, electric guitar in hand, middle finger at the ready for his poor wife Eurydice. Not only did he look perfect for the role, his laissez-faire wannabe rock-god persona was perfectly tuned; tonnes of ambition and little potential, causing his wife to block her ears from the noise. McNeill’s voice was a wonderful balance between his classical training and his modern projects, combining the operetta with the grungy character seamlessly. If anything, I wished to see more of Orpheus, the lead character who for a lot of the action is quite absent. His voice complimented Viv Conacher’s much more traditional portrayal of Eurydice, following her note-for-note with every ostinato and melismas. Conacher herself is one to watch int he future; her traditional portrayal allowing for a near-flawless performance of the operetta’s more challenging solo pieces.

Meanwhile, Will Stavert’s Pluto skilfully strutted up and down the stage in heavy boots and a commanding pelvis (which he exploited repeatedly throughout the show), his booming laugh and venomous grin characterising all of Hades as burning hot, morally decrepit and downright sinful. As the show endeavoured to demonstrate notions of both the ridiculous and the sublime, Pluto could perhaps have portrayed his fallible side more strongly as a theatrical indication towards his past failings as a God, the history which has left him to govern Hades while his brother rules Mount Olympus.

The stand out performance however, must go to Lauryl Trenholme-Pihl in her portrayal of Public Opinion, the charm and wit she brought to the role was easily reminiscent of Kristin Chenoweth in many roles and was superbly carried through. Not only was her character thoroughly engaging, but her singing voice was strong and stylised, pushing her to the focus of her many scenes. It is often the case that the reason behind casting certain actors is beyond transparent, whether it be for looks, acting ability or singing ability, and it was extremely comforting to know that Trenholme-Pihl is the real deal through and through, a stunning performer and the naturally perfect choice for Public Opinion, she who represents the audience amongst the drama, if only for her charming on-stage persona.

The young men and women behind Vintage Duck may still be finding their sea legs, but they have certainly left an indelible impression. I spoke earlier of the interaction between the Orpheus’ cast and the audience, but the scariest part of the performance wasn’t Mars’s baseball bat grip or Pluto’s voracious debauchery. For me, it was becoming part of the cast itself.

Prior to the finale Eurydice herself came down from Hades (geographically possible only in a theatre!) to the front row where we had been seated. After brief small talk she came to the point.

“Which one of these do you think I should choose?”

She gestured towards the stage at brothers Pluto and Jupiter, each presenting themselves with bold finesse.

“I’m not sure.”I reply, confused as to where this show may turn if I pick the wrong answer.

“Not very good options are they?” A frown and then a smile. “What’s your name?”

“Sam.”

“Sam, will you come with me?”

And with that she took my hand, led me onto the stage amongst the disapproving Gods and declared operatically, “I choose Sam,” a decision the chorus reluctantly confirmed. I dare not say whether it was the power of an operatic chorus on all sides which caused it, or the sheer fear of being thrust into the limelight unexpectedly, but once backstage with the cast (after we had made our curtain calls, naturally) Venus pulled me aside and said “Sweetie, you’re shaking.”

To be a part of the show, if even for a moment, showed me just how much courage and vigour it requires to strut and fret. To be, if only for a moment, among the Gods as the audience crowed was a truly humbling (and harmlessly humiliating) experience which I will remember for a long time to come.

Sam McNeill (Orpheus)

Will Stavert (Pluto)

Viv Conacher (Eurydice)

Jeremy Leith (Jupiter)

Orpheus in the Underworld was performed at Sydney’s Tom Mann Theatre on the 23 – 27 September 2009.

For upcoming shows, visit the Vintage Duck website, or their Facebook group.