“Orpheus Descending” is not one of Tennessee Williams’ well-known, often-produced plays, like “Cat on a Hot Tin Roof” and “The Glass Menagerie.” Williams (1911–1983) rewrote “Orpheus Descending” five times in an effort to create a modern version of the Greek legend of Orpheus and Eurydice. That’s the one where the lyre-playing Orpheus goes to Hades to bring his wife, Eurydice, back to Earth. All he has to do is not look back at her during the trip home. And you can guess the rest.
Several versions of “Orpheus Descending” have failed on Broadway over the years. Director Harold Clurman’s 1957 production, with Maureen Stapleton and Cliff Robertson, lasted 68 performances. The drama was revived on Broadway in 1989, directed by Peter Hall. It starred Vanessa Redgrave and Kevin Anderson, and barely lasted 100 performances.
It seems that Williams got stuck trying to redo Orpheus and Eurydice. Instead, he turned the Greek myth into one of his archetypal Southern melodramas, in which repressed and lonely denizens of a bigoted small Mississippi town vainly search for freedom.
As produced by the Oakland Theater Project and directed by Will Detlefsen, we can overlook some of the play’s less cohesive aspects and conclude that the essence of “Orpheus Descending” lies in the lonely characters and their burning need to escape. We also appreciate the fine acting that carries the show, especially Lisa Ramirez’s powerful performance as Lady Torrance.
Lady, who operates a dry goods store, is the Italian-American daughter of a murdered winemaker. Ramirez delivers a remarkable performance as she contrasts Lady’s slightly crazed, repressed sexual desire with Lady’s innate strength and dignity. Her husband, Jabe (excellent Robert Parsons plays all the town male roles), is near death, but still makes his evil presence felt.
Into the town ambles guitar-strumming sexy stranger, Val Xavier (outstanding Hunter Bryant). Although he tries to show some restraint, he clearly sets the town on edge. The smoldering relationship between Val and Lady draws the audience in, though it stems from loneliness rather than love or trust.
The supporting cast is also impressive. Natalie Pasquinelli is exciting as Carol Cutrere, a woman whose grasp of reality is dwindling as she struggles between rebelliousness and despondency. Her purpose in the plot is unclear; she is just another wild, struggling, unfortunate.
Susannah Martin is very effective as Vee Talbot, the painter and wife of the town’s autocratic, iron-fisted sheriff. Her visionary insights temporarily bring a bit of hope.
Although violence always lurks just below the surface of “Orpheus Descending,” it comes to a head at the close of the production, but perhaps with a twist not envisioned by Williams. It’s typical of the Oakland Theater Project to present an exciting play like “Orpheus Descending,” an innovative, arresting production, on a limited budget at modest ticket prices.
By Emily S. Mendel
© Emily S. Mendel 2026 All Rights Reserved
