A Song for Ella Grey – Liverpool Playhouse

Greek myths have had many reimagining’s as their moral narratives and fantastical characters will always intrigue an audience. Based on the novel by David Almond, this adaptation takes the old cautionary tale of Orpheus and Eurydice and places us in modern day Northumbria. A group of sixth formers recall the story of their friend’s untimely death, a tale that conjures up grief, longing and fears of fleeting youth.

The whooshing sounds of the ocean and ethereal drapes of cloth adorn the stage, where the actors tell us of Ella Grey. This five strong cast take us from Bamburgh beach to the depths of hell, remembering their dear friend and her demise.

Elusive Orpheus appears in the waters and captivates the youngsters with his music and otherworldliness. Using shadows of silhouette with a crown of twigs, Orpheus never speaks and becomes as intriguing to the audience as they are to the characters. Neither he nor she, Orpheus entrances the group with their presence and beautiful music.

Created by Emily Levy and played by an offstage musician (Zak Younger Banks), the tuneful folk songs accompany the story and create an almost zen-like atmosphere.

Ella seems to float through her life as well as death. Grace Long’s portrayal depicts Ella as a distant, spectral girl, who’s love is all-encompassing. The ache of longing is most noticeable not in Ella, but her best friend Claire. Narrating the tale, stuck in her grief, Claire (a captivating Olivia Onyehara) is the force keeping the story driving onwards.

Parents, teachers and hellhounds were also played by the cast members, with accents and physicality’s contributing to speedy transitions between characters. Beth Crame played spirited Angeline superbly, but also brought the parents to life with distinctive and clever choices. Outsider Jay, played by Jonathon Iceton, also multi-rolled well, and brought an innocent sweetness to the young birdwatcher. Amonik Melaco rounds out the cast, as cool boy Sam, but brings in the most laughs when playing sassy side character, Bianca.

At the interval point, I did question how the play would move forward, and found myself surprised by the fantastical turn the play took. The journey into Hell brings along monsters and chaotic characters, a stark contrast to the tangible high-school life depicted in the first half. I couldn’t help but feel a little disconnected to the story during this part but am glad that the play concludes well and takes us back to the group of friends we’ve grown accustomed to.

Overall, the play is a love letter to the loss of innocence and onslaught of confusion that adulthood brings. The tale of Orpheus might be a magical one, but what is most moving in this piece are the emotional journeys conveyed by the actors. These characters are relatable and inviting, making the story feel more tangible than its Greek beginnings. And with that, perhaps even more devastating.

Reviewer: Coral Mourant

Reviewed: 13th March 2024

North West End UK Rating: