A contemporary retelling of the Orpheus myth, A Song for Ella Grey enchants us with the tale of a group of teenagers on the brink of adulthood who must face loss, love and lust
A Song for Ella Grey is Pilot Theatre’s contemporary retelling of the Ancient Greek myth of Orpheus. Sam, Angeline, Ella Grey, Jay, and Claire are a group of friends on the brink of graduating high school in their small Northern town. Within this group, Claire and Ella Grey are particularly close. They have been best friends since they were little – endless sleepovers, no secrets. There is only one thing Claire has kept from Ella: that she is completely in love with her and has been for many years. One day, while hanging out together by a river in their town after perhaps a few too many bottles of wine had been consumed, the group hears an enchanting tune. Ella is the first to pick up on it. Her eyes become hazy, her expression dripping in allure. One by one, the other members of the group start to hear the tune too. They become captivated, transfixed by the beautiful, haunting music than transcends time, place and identity. We too can hear the music; an indie folk melody reimagined into a poignant incantation. The music disappears, the spell broken, and the group is left wondering what they just encountered. As their lives potter on, the group continues to search for the music. Finally, on a trip to the beach that Ella Grey was not permitted to attend, they hear the music once more and see the figure from which it emanates: Orpheus. Orpheus is a figure beyond gender identity, a form that transcends our conceptions of self, forming whatever image that who views them wants to see. Ella Grey, though not present, hears Orpheus’s music through Claire’s phone, and falls in love. At this stage, it is clear that Ella Grey is this play’s Euridice, and the foreboding knowledge of what is about to occur dawns upon the viewer.
Adapted from the namesake book by David Almond, Zoe Cooper’s play is a phenomenal feat in modifying an existing adaptation of a myth. The tenants of Ancient Greek theatre are alluded to, with the group of friends falling in and out of a chorus form, maintaining the traditional interjection of different lines said by individuals as well as simultaneously as a group, the use of song, music and movement. The dialogue is modernised in such as a way as to feel both authentic when spoken by a teenager, but elevated enough to create the unnerving feeling that we are watching something mythical. As the play progresses it becomes clear that A Song for Ella Grey is telling the story of the loss of adolescence. These teenagers are all grown up now, and as much as they want to hold onto the magic of their youth, they must move on.
The team behind the music and sound design of this production, Emily Levy and Adam P McCready, created a phenomenal universe within Theatre Peckham’s space. The sound design was expertly crafted to both seamlessly transport us to whichever space the play had now travelled to as well as create the emotive energy the scene required. Emily Levy’s music was a vital element of this play, as Orpheus is a mythical musician and poet. The play required a murky, mysterious sound to emerge from Orpheus, a concept that is nebulous and an accurate reflection of how Orpheus is meant to feel. Levy achieved a great feat in composing music that felt true to this idea, but also maintained a specificity of sound and message.