A single drop of water echoes through the metal cage of an old elevator. In that moment, time seems to tremble—each drip a heartbeat, each echo a whisper from another world.
Eurydice, being staged August 2~3
It’s this same intimacy, the fragile tension between sound and silence, that defines Eurydice, being staged August 2~3 at the Chikusa Playhouse.
In a first‑of‑its‑kind co‑production, JAZZcolle. and Theatre Iridescence unite to bring Sarah Ruhl’s Eurydice to life. This immersive, bilingual staging blends JAZZcolle. ’s ballet-informed jazz movement with TI’s genre-defying English-and Japanese-style storytelling.
To explore how choreography, text, and Nagoya’s creative spirit intertwine, Rachel Sweeney spoke with Sasha MacPherson of JAZZcolle. and Aya Kawakami from Theatre Iridescence.
Sasha MacPherson (Plays Eurydice)
Miss Sasha MacPherson, the star of the show! In your own words, can you tell us a little bit about the play?
Well, at its most basic level, it’s about love—and very different kinds of love at that. Familial and paternal love, romantic love, lustful love, and how we navigate those every single day. It’s tough to give a synopsis without spoiling it, but Eurydice finds herself married to a lovely man, and starts asking herself if it’s something she truly wants.
As the play goes on, she keeps questioning whether what she had before her descent into the Underworld is really what she thought she was supposed to want.
Toward the end of the play, Eurydice has to make a split-second decision that changes the course of her life forever. And while the show is based on a Greek tragedy, it’s actually a really lovely story that parallels real life. There are ups and downs, moments of pure heartbreak, but also of extreme happiness.
You mentioned love being an important component of the show. How does that theme influence Eurydice and the play overall?
I think it’s a great commentary on how women are often betrayed by different types of love, and how relationships can twist love to serve their own needs.
Eurydice has a unique relationship with each of the three men in the show, and it’s fascinating to see how she navigates each one. She loves her father deeply—he’s an anchor in her life—but she also loves her husband, Orpheus. She believes she’s happy in that love… until a stranger arrives with a kind of love she’s never experienced before.
She’s wary at first, but it’s new, exciting, and affirming—so she’s drawn to it. The audience will witness how it affects her, how it changes her. So yes, love is the overall theme, but it’s also written from a distinctly female perspective—how women are perceived, pursued, and sometimes betrayed by the men around them.
That’s quite an interesting take on a traditionally male-centric story. I think it’ll resonate with a lot of women in the audience. That said, what has been the most challenging aspect of playing Eurydice?
Oh gosh. The most challenging aspect? It’s got to be actually stepping into her shoes. We are very different—like, so very, very different. When I first read the script, I thought it was more comical, even satirical, and then once rehearsals began, I realized: Oh nooo, no, no. I’m dreadfully wrong (laughs).
At first, I could totally see myself in the role, but she’s much younger than me, and a lot more naive—in that tender, unguarded way only very young women can be. That’s been tough for me, because I’ve lived a lot more than Eurydice. There are moments in the show where I, Sasha, would respond one way, but Eurydice doesn’t yet have the experience or awareness. She’s polite, open, receptive—sometimes unaware of danger. But portraying her has also been rewarding. I’ve learned a lot.
I love that. That’s what theatre’s about, right? Learning to inhabit someone else while discovering something in yourself. Final question—why should people come see the show?
Exactly! It’s been fun to stretch myself—it’s not just I’m an actor doing what the script says. I’ve been actively engaged in the process, and that’s fulfilling.
Why should people come see the show?
Well, aside from the obvious answer—it’s awesome, we’ve put so much work and love into this production—it’s really a gift to the community.
This show is different. Aya’s vision is beautifully realized, and I think people deserve to witness that. We’ve brought this story to life in a fresh, creative, and dynamic way—especially with JAZZcolle. as the embodiment of Water.
I want people to get excited about community theatre again. It can be hit or miss—this one’s a hit. Be like my partner: come to all three shows, then pick your favorite!
Aya Kawakami (Theatre Iridescence)
Alright, Miss Fearless Director. First question: Why Eurydice? What drew you to share this story with the community?
Years ago, I was looking for a play my students could perform. I researched so many shows, and when I read this one, it hit home for me in a deeply personal way.
While my own father wasn’t as gentle as the one in this story, he did teach me to love books, to love words. That created this kind of wishful thinking—what if I had a father like that?
Reading Eurydice brought back important memories of how people express love in different ways. The father in the play is awkward; he doesn’t speak his feelings well, so he communicates through writing and books. That resonated with me. And I appreciated that the love story here isn’t romantic love—it’s about love in other, equally powerful forms. That’s rare in theatre.
That’s such an important idea—and often overlooked. Now, water is a major element in this play, and directors interpret that in many ways. You chose to collaborate with JAZZcolle. Dance Studio to represent water. What inspired that choice?
When I was looking at this play, it was clear the Stones were meant to be the Greek chorus—a traditional feature of Greek drama. But what struck me was the other element running through the text: water. There’s so much water imagery and sound—the river the dead are dipped in, the elevator that rains, even background sounds during key moments.
It became clear that water was a constant force, shaping the show and pushing everyone toward their fate. In Greek mythology, fate is often embodied by three goddesses—so I thought, why not use dancers to represent that force?
Years ago, while researching Medea, I learned the Chorus could be actors, musicians, dancers—it didn’t have to be just one thing. So I thought: let the Stones be the spoken chorus, and let water become movement.
Both Water and Stones are part of the Underworld, both shaped by its unseen forces. So, I guess you could say it was a fever-like dream: water, goddesses, dancers—yes, let’s do that. (laughs)
Of course, I could have gone with more literal water effects, but those are expensive and complicated. As a small theatre company, you have to be creative. This collaboration offered something fresh—and meaningful. The dancers are always present, like fate itself. They witness the turning points. And through them, that presence becomes tangible.
That’s such a unique layer to add to the story. I think audiences will be moved by it, especially knowing how much work JazzColle. has put in. So, why do you think people should come see Eurydice? What will Nagoya audiences get from this experience?
I think our collaboration with JAZZcolle. is something really special. A Japanese dance studio partnering with a predominantly foreign theatre company isn’t something you see often. Many of our dancers have never acted before, and our actors haven’t performed dance onstage. It’s a true cultural and creative exchange.
We also have a huge range of talent in this show. We’ve done some great work in the past, but this show, in particular, features an incredibly strong cast.
Tomonori Niwa is a well-known actor here in Nagoya, and he’s taken on the challenge of acting in English for this show. Watching him grow and adapt has been a joy.
Visually, the production is stunning. It supports the beauty of the script and adds emotional depth. There will be laughter. There will be tears. But the tone is balanced—it’s not a downer. It’s heartfelt, alive, and ultimately uplifting.
So yes—come. I think you’ll leave feeling something real.
Performance Details
Production: Eurydice by Sarah Ruhl
Venue:
Chikusa Playhouse
3 Chome-6-10 Chikusa,
Chikusa-ku, Nagoya
Website
Performances:
Saturday, August 2, 2025
Doors Open: 13:30
Performance: 14:00
Sunday, August 3, 2025
First Show:
Doors Open: 10:30
Performance: 11:00
Second Show:
Doors Open: 14:30
Performance: 15:00
Tickets
Purchase Tickets HERE
General ¥3,000
Student ¥2,000
Language:
English performance with Japanese subtitles
Theatre Iridescence Website
Getting There
From Nagoya Station, take the Sakura-dori Line (Sakuradori-sen) heading toward Tokushige.
Get off at Fukiage Station (吹上駅) — this is the 7th stop from Nagoya.
Exit via Exit 7.
Walk straight north for about 3 minutes (200 meters).
The theater will be just ahead on your left.
MAP
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