Ashley Pearson, director

Theatre is at its best when it is challenging the establishment, and Offenbach’s Orpheus in the Underworld does just that. The Greek gods, bored with Ambrosia, take a raucous trip to the Underworld to sort out a couple’s marital problems. Euridice faces off with Public Opinion, who represents the establishment as the voice of popular morality, over the matter of her divorce. She fends off a slew of possessive would-be lovers, opting in the end to become a servant to the god of wine. The goddesses spend a delightful number poking fun at the hypocrisy of Jupiter, king of the gods, who represents politicians and political institutions…