Orpheus in the Underworld

Review by Pamela Young, The Globe and Mail (Wednesday, December 29, 1993)

"In updating and Canadianizing an Offenbach classic, the Toronto Operetta Theatre concocts an evening of spirited fun"

"Orpheus in a wonky universe"

"A new English-language production of Orpheus in the Underworld by the Toronto Operetta Theatre (at the St. Lawrence Centre's Bluma Appel Theatre) updates and Canadianizes Offenbach's original."

"Wittily designed by Edward Kotanen, the TOT production unfolds in a benignly wonky universe. Eurydice is a bored rural Ontario housewife who makes her first entrance on cross-country skis. In the second act, stage directions call for the goddess Diana to sound for her hunting horn, which turns out to be a large, battered sousaphone. A huge banner proclaims the home of the gods Club Olympus, and its swimsuit-clad immortals are jaded vacationers on an eternal Club Med holiday. No wonder they're eager to venture down to Pluto's domain for the last act to raise a little hell."

"Sally Dibblee's Eurydice was a delight. The soprano, who portrayed the sombre vampire Camilla in the Canadian Opera Company's production of Nosferatu earlier this month, excelled vocally and dramatically here in the role of a libidinous flibbertigibbet. Henry Ingram's portrayal of Pluto as a seedy, beguiling pixie was memorable, as was Juan Chioran's athletic and vocally limber Jupiter."

Review by Robert de Vrij, WORLD REPORT, Opera Canada

"The Toronto Operetta Theatre's production of Orpheus in the Underworld brought new life to Jacques Offenbach's comic operetta classic. Director Guillermo Silva-Marin's concept of the work found Orpheus and Eurydice bundled in winter clothing and living somewhere in the "frozen cornfields of Northern Ontario, recent antiquity." Jupiter and the assorted gods and demi-gods lounged about in bathing suits and sunglasses at "Caribbean Club Olympus". In the end, everybody exchanged their clothes for leathers, biker caps and bikini briefs, and went down below to join Pluto in the "party room in Hades". The scene could have been called Orpheus in his Underwear; and although some might deem it irreverent, it worked beautifully.

The cast threw themselves into the show with gusto and life, and delighted the audience with their strong singing and energetic dancing."

"Above all, the TOT deserves praise for being innovative, while remaining true to the spirit of Orpheus."