Sarah also adapted the play into the libretto for an opera, Eurydice by Matthew Aucoin, which premiered at the L.A. Opera in February 2020.
A Nasty Interesting Man/The Lord of the Underworld
A Chorus of Stones:
The set contains a raining elevator,
some rusty exposed pipes,
an abstracted River of Forgetfulness,
an old-fashioned glow-in-the-dark globe.
Eurydice and Orpheus should be played as though they are a little too young and a little too in love. They should resist the temptation to be “classical.”
The underworld should resemble the world of Alice in Wonderland more than it resembles Hades.
The stones might be played as though they are nasty children at a birthday party.
When people compose letters in this play they needn’t actually scribble them—they can speak directly to the audience.
The play should be performed without an intermission.
This play is for my father.
A young man--Orpheus--and a young woman--Eurydice.
They wear swimming outfits from the 1950s.
Orpheus makes a sweeping gesture with his arm, indicating the sky.
All those birds?
For me? Thank you.
They make a quarter turn and he makes a sweeping gesture.
He makes a gesture of giving the sea to Eurydice.
And—the sea! Now?
Orpheus opens his hands.
It’s mine already?
They kiss. He indicates the sky.