The tale of Orpheus and Eurydice is a classic for a reason. Tragic, romantic, deep as Hades. It is typical of the Greek canon and is often used to explain classical culture and thinking. The same could be said of the story’s newborn Scottish adaptation, Òran, which speaks, not of ancient Greece, but of growing up as a teenage boy in contemporary Scotland.
The production as a whole has a strong sense of place. The Scots slang delivered in actor Robbie Gordon’s heavy brogue colours the entire production and paints an unmistakeable picture of Scottish lad culture. For example, in the original I’m fairly sure Hades doesn’t call Orpheus a shitebag.
Its style works well, transporting us into the tortured mind of our protagonist, as he grieves for his best friend, Euan. That’s who Òran is- a loud and ferocious yet troubled and soft schoolboy, coming to terms with the part he’s played in his mate’s departure for hell.
School bullying is a strong theme in the production and adds an interesting new element to the, by now, well-trodden path of the story. The anguish, guilt, and hope of Òran’s venture down into the dark heat of hell is brought out viscerally in Robbie’s performance. His portrayal is big, and loud, and physical, and suits this particularly masculine twist of the story. It’s effecting.
The thing about well told tragedy is, even if you’ve heard the story before, even if you know there’s only one way for it to end- you’re still on the edge of your seat hoping ‘not this time’. At the end of Òran, I have to catch my breath and lean back in my chair. This should tell you everything you need to know.
Òran, Pleasance Courtyard, 15:15, until August 25.
