Orpheus Descending is a difficult and unwieldy play in which the creative team and especially the cast of this production do an excellent job of infusing with serious energy and inventiveness.
Orpheus Descending is another of Tennessee Williams plays set in small town USA examining the knotty and repressed relationships of its residents. Mostly we follow the story of Val Xavier (Johnathan Aarons), an outsider with a sordid past who is trying to make a new life for himself. He is quickly drawn into the maelstrom of the town. He is pursued by Carol Cutrere (Daisy Hargreaves), the town’s own scandal, who both wants him romantically and is trying to warn him of the potential danger he is in. Soon, however, Val is falling in love with Lady Torrance (Madison Coppola), the daughter of an Italian immigrant whose vineyard and shop was burned down after he was willing to sell to black people. He is her rescuer, saving her from her horrible husband Jabed who, unbeknownst to her, was a central part in the murder of her father and the destruction of the vineyard. Gradually these tensions ramp up to tragic effect.
This is a complex plot to bring to life, but this production pulls this off to great effect. The characterisation is particularly strong throughout as is the movement. The fight scenes are excellently choreographed and have a genuine tension to them and each actor’s attention to physicality was impressive. All of this speaks to the LAMDA roots of much of the cast, an acting school known for its excellence in physical work.
A few performances stand out especially. Yaw Osafo-Kantanka takes on an expanded version of the role of Uncle Pleasant brilliantly, drawing on his skill as a poet to produce some hugely captivating monologues and Grace Wallis delivers a very strong performance as the evangelical ‘visionary’ turned artist Vee Talbot. Madeleine Paulson also shines in the small role of Sister Temple, showing a remarkable skill for physical comedy, forming a great double act with Madeleine Bloxam, who I only wish Williams had written bigger parts for.
Alexandra Montalbano and Nicolla Bonanni’s movement direction stands out from the creative team. The large cast move well together, and this helps produce a dynamism throughout that brings the groupthink of the town to life. Anna Barkan’s direction is also strong, producing lots of novel interpretations to create this bold take on Williams’ tale. At times some of these ideas – especially the expanded role of Uncle Pleasant – felt like they could have been taken even further and, because of the impressive force of most of the production, a few more cautious choices fall flat. Some audio-cued gunshots in the second half, for example, feel like an odd choice for a production that has been so creative and physical throughout.
But any real shortcomings in this production feel, to me, largely the fault of the writing. This is one of Williams’ more convoluted and difficult plays, and Willaims’ trademark lyrical writing is much less successful than in some of his other work. The play’s structure also often feels like it gets in the way of allowing its characters to develop. Frequently, I felt the cast and crew fighting with the text, trying to get as much as possible out of it while also reinterpreting some of its more dated elements. In this they have done excellent work, but at times the result is still a little unruly. Nonetheless, this is a production brimming with energy and craft, and the characterisation of the cast is a real joy to watch.
Playing until the 29th of June – https://www.conjureproductions.co.uk/orpheus-descending
Reviewer: Ralph Jeffreys
Reviewed: 25th June 2025
North West End UK Rating: