Anna Barkan’s bold and breathtaking direction of Orpheus Descending is nothing short of visionary. From the moment the lights went down at the Cockpit Theatre, Barkan pulled us deep into the underbelly of a 1950s Southern American town, unafraid to confront the racism, violence, and moral decay buried within Tennessee Williams’ text.
What makes this production stand apart is Barkan’s refusal to shy away from the ugliness of the language and history. She handles the use of racial slurs with integrity and purpose, framing them from the outset as the weaponised tools of white bigots, not words to be glossed over or ignored. It’s a vital choice, one that honours the truth of the play while forcing the audience to reckon with it head-on. Her direction balances intensity with nuance, using discomfort not gratuitously, but to demand reflection.
The performances across the board were incredible, but special mention must go to Brock Looser as Dolly Hamma who created an unforgettable presence on stage, both raw and razor-sharp. Every line delivered with a fierce clarity that cut straight through the air.
The movement sequences, co-directed by Nicoletta Bonanni and Alexandra Montalbano kept the momentum pulsing throughout, creating a kind of visual poetry that elevated the text even further.
Jana Latakos’ set and costume design evoked both the grit and surreal beauty of a town on the edge of collapse. And the choice of bluegrass and Italian compositions as the musical backbone of the show was pitch-perfect.
Orpheus Descending is a production that should be seen, felt, and remembered. Barkan has delivered a masterclass in courageous, uncompromising theatre.
Review: Bibi Lucille