Theatre in the Park's Eurydice Is a Must-See Production
This article was published by Triangle Review on June 6, 2026.
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In February, Raleigh's Theatre in the Park announced that they were holding auditions for their next show, Eurydice by Sarah Ruhl. Four months later, their June 4-14 production of Eurydice, directed by Sean A. Brosnahan, is a must-see (and, as someone who has grown tired of Greek Mythology, I don't say that lightly). Plus, you can bring the whole family.
The role descriptions in that call for auditions tell you all you need to know ahead of time about this play, and the actors nail every one of the roles.
Monica Hoh, who is a librarian in real life, presents Eurydice as empathic while preserving her confident ego. Expressive without being melodramatic and childlike without being annoying, Hoh's Eurydice is "romantic but thoughtful, vulnerable yet sharp" and manifests "emotional honesty, curiosity, and a collaborative spirit," fulfilling the role description to a T.
Aaron Tyler Boles' Orpheus is an impressively supporting character, through and through, and maintains the chiseled characteristics expected of a male protagonist in Greek Mythology. He is "passionate, sincere, and emotionally driven, though not always grounded." The friendship displayed between Boles' Orpheus and Hoh's Eurydice is pure and honest, and the actors' chemistry reflects the likely friendship that has grown between them while preparing for this production.
Delighting in control and disruption, Nick Popio is laugh-out-loud believable as the "manipulating, childish, impulsive" Lord of the Underworld, reminiscent of Jonathan Groff's famed portrayal of King George III in Hamilton.
Embodying patience, kindness, and quiet humor, Kevin Varner is sad and caring as the Father who lovingly returns the dead Eurydice's memories to her, then enables her to leave him forever.
And the Chorus of Stones -- Kevin Aponte, Lindsey Atkins, Giovanna Kast, Bridget Patterson, Amanda Plese, Adalynn Alexander, and Rebekah Rhea -- provides tension-breaking accompaniment that actually makes me appreciate the presence of a chorus in a Greek tragedy. They come across as moving subjects in a giant surrealist painting, delivering simple but beautiful music throughout.
Set and props designer Alyssa Petrone's set is a true work of art that beckons you to walk inside, and the production creatively uses every inch of it. The production also makes visually stunning use of light and shade, which is magically accomplished by local lighting designer Bronwyn White. And the sound -- whether during soliloquies, organic musical notes, or acoustic and electric melodies -- is spot on, both in quality and volume, thanks to Raleigh-based sound designer Kevin Aponte.
The play, itself, is a marvelous recreation of Greek Mythology, channeling the simple poetic and often comical wit and wisdom of Antoine de Saint-Exupéry's The Little Prince, Samuel Beckett's Waiting for Godot, and Richard Matheson's What Dreams May Come (starring Robin Williams). TIP's production of Eurydice is only 90 minutes long, with no intermission, leaving you plenty of time to think and talk about it, which you will inevitably do, before turning in for the night.
After the play last night, as my friend and I sat and talked at one of the picnic tables outside, a group of actors exited the theater. They were deservedly happy and, as they talked for 10 minutes or more, it was clear that the sincere connection and community created between them by this production is the biggest reason for its success. Attend one of the remaining six performances to become a part of it.
