A myth for the modern age, exploring themes of modern boyhood through the tale of Orpheus’s descent into the underworld.
In this immersive one-man show, Òran retells the myth of Orpheus’s descent into the underworld through a modern Scottish lens. In the original Greek tale, Orpheus sets out to rescue his lover Eurydice from Hades. In this version, Òran loses a childhood friend (Euan) to the pressures of modern adolescence, and descends into a cyber hell to rescue him from the clutches of a sinister online world. Performer Robbie Gordon brings this tale to life with an electric storytelling style, setting the scene with an approachable, conversational energy as he ropes in audience members for various roles in this interactive tale. This new work, written by Owen Sutcliffe and staged by Wonder Fools, has just debuted in London after a critically-acclaimed run at the Edinburgh Fringe this summer.
The story begins with an imagined phone call from Òran to Euan, his childhood friend, as he reminisces about how bravely kind Euan used to be. In a style that seamlessly blends prose and spoken word poetry, Òran addresses Euan as he recalls how pressure and bullying from older boys slowly dripped poison into their friendship, as camera phones and online networks pulled kids into image-obsessed online communities. As cameras became more available and the awkward stages of self-discovery became too well documented, boys started to mock and ridicule the appearance of others, and so-called ‘friends’ would share any vulnerable photos they could get their hands on for clout. As Òran sees just how far Euan has descended into this toxic world, he realises he’ll have to journey into the depths and confront his own darker impulses in order to bring Euan back to his old self.
As Òran descends into this technological hell, the writing slowly develops into a more fantastical, mythological world. Sutcliffe’s script flows into a more lyrical style as he paints images of several circles of hell. Gordon shows off an impressive vocal versatility as he ranges from voicing Hades in a low growl, to the boisterous energy of his boyhood memories, and the tender moments as he confronts his own vulnerability and shame. Jack Nurse’s dynamic direction uses every inch of the space to build up this world, and brings the audience into the story to play a few key parts. The play is scored with electronic music by VanIves, which adds a pulsing energy to the rhythm of the script. The main set piece is a large rectangular light, which drenches the space in colour as Òran progresses on his journey. Each aspect of this production is vibrant, and surprisingly full of life for a visit to the underworld. This myth for the modern world will resonate with anyone who has known the darker side of today’s technology, but the underlying current of hope reminds us of just how powerful a true friendship can be.
Òran ran from the 11th to the 13th of November at the Pleasance Theatre in London after a sold-out run at the Edinburgh Fringe.