Chicago Tribune - Recommended
"...Julie Ritchey's staging in a Pilsen loft cunningly incorporates a working freight elevator that bears the title character to the underworld, and also provides a shower that washes away her memories of life with her husband, super-musician Orpheus. The real strength of this production lies not just in the imaginative staging, but in the simplicity and lyricism of the performances. The emotional textures and conundrums woven through Ruhl's text come through here with both urgency and delicacy."
Chicago Reader - Highly Recommended
"...Ruhl's modern fable takes on the lightness of a floating island, unbounded by history or place, in the cavernous Lacuna Lofts. But the same space shifts with disorienting specificity into an underground nightclub for Omen Sade's physical-theater take on the myth."
Chicago Maroon - Recommended
"...The Filament Theatre Ensemble has a penchant for the unusual and the imaginative. Their last show transformed an apartment into a theatre with only sound and gesture. This time they’ve turned an old macaroni factory into the Underworld. As usual, they’ve put creativity, humor, innovation and entertainment together to create another unique experience through the staging of two separate plays, Sarah Ruhl’s Eurydice and Omen Sade’s Orpheus, performed in succession."
ChicagoCritic - Highly Recommended
"... Filament’s production of Eurydice is stimulating, engaging theatre, well-conceived and well-executed. It challenges: it wants us to work, wants us to think, want us to take something away after 90 minutes, instead of leaving us with empty entertainment. It asks us to participate, to grow and change with the piece. And, I think, it succeeds."
Chicago Stage and Screen - Somewhat Recommended
"...The ensemble behind “Eurydice” contained a few decent people who helped progress the beautiful story. But just when you think the play is traveling in a right direction, it takes a violent turn for the worse and loses your excitement. After which the production will slowly gain back your attention but will result in the same outcome. Another complication I found with this production was the horrendous “Chorus”, who were called The Stones. I assume the director chose to make these three actors attempt humor with their dialogue, resulting in a terrible mix of genres and a slight cringe every time they spoke. Filament’s latest production is not worth the ticket price, unless of course you like shows you can't see, hear, or understand."
Chicago Theater Beat - Somewhat Recommended
"...Ultimately, Filament may not have the resources to meet the necessities of Ruhl’s play. The lyricism of the dialogue can only sustain the story so far. The light playfulness of the text requires a higher level of theatricality and spectacle to maintain interest, and to achieve the intended emotional effect, and create a separation of the two worlds to flesh out Eurydice’s journey. The play wants to float along in a dream world in which anything can occur, time and language are rendered meaningless, and the desires of the characters are unbridled. In this fanciful, yet uneven production, I was woken up, and taken out of this dreamlike place a few too many times to consider the journey refreshing and worthwhile."
