Theatre / Eurydice by Sarah Ruhl, directed by Amy Kowalczuk. At the Mill Theatre, until December 14. Reviewed by ARNE SJOSTEDT.

Portraying the grand themes inherent in classical mythology is no small feat. These stories, familiar to many, delve into archetypal experiences built on the foundations of human existence.

Life, after all, is about creating stories – stories that bring joy in their living, grief in their passing and, when necessary, a heroic fortitude to carry on.

In the case of Eurydice and Orpheus, portrayed by Alana Denham-Preston and Blue Hyslop, the task is monumental: to embody a love so profound it leads to a journey into the underworld. Sarah Ruhl’s acclaimed play condenses this timeless tale into a poetic and tightly woven narrative, accomplishing much in just about an hour. Its brevity demands an economy of expression that conveys immense emotional depth.

In its portrayal of a couple infatuated with each other and uplifted by the magic of that emotion, the play presents that fleeting experience of a couple in the first blush of love. However, in this production, the portrayal occasionally tips into the saccharine. Striking a balance is challenging, as their connection must feel believable to support the narrative’s eventual shift to the profound sense of loss central to this mythological tale.

Strong performances anchor the production. Alana Denham-Preston brings conviction to Eurydice, while Michael Cooper delivers a chilling portrayal of both the Nasty Interesting Man and the Lord of the Underworld. His calm, menacing presence serves as a dark thread binding the production, evoking fear and unease.

Cooper creates a foreboding and unsettling underworld, amplified by the haunting work of the chorus (Heidi Silberman, Sarah Hull, and Sarah Nathan-Truesdale). Their unsettling movements and abrupt power made being in the underworld an unpleasant place.

Timmy Sekuless provides a poignant counterbalance as Eurydice’s late father, portraying his role with delicacy and understated emotion. His interactions with Eurydice evoke both tenderness and sorrow, adding depth to the play’s exploration of love and memory.

Ultimately, this production captures the essence of Ruhl’s vision with honesty and, for the most part, success. Yet, there is a lingering sense that something is missing at its core. Perhaps this is a byproduct of the play’s conciseness. Classical mythology often carries a paradoxical weight – its stories are epic in scope yet fleeting in their telling, a blink of an eye when compared to the eternal nature of their truths.