Transatlantic Love Affair’s emilie/eurydice is a difficult show to describe. This is not due to a particular complexity of plot – the scenario is fairly straightforward – but due to the impossibility of pinning what makes this show so moving on a single part. Many elements that by themselves might have been merely incidental or fluff combine to create an unusually resonant drama and cathartic journey.

For those not familiar with TLA’s previous work, the world of emilie/eurydice follows the company’s normal balance of using set pieces, backdrops, props, and sound effects acted out in real time by the cast. This dramatic device is amusing at first, but as the story marches on this transforms from clever gimmick to an integral expressive medium. The tension and posture of human bodies across the stage is often inspired and always powerfully emotive. Parsing out where an individual actor’s contribution begins and ends is a difficult task, especially given the ensemble creation of the piece. Let it thus be said that Isabel Nelson’s conception of the work has been brilliantly realized, and that the best way to understand why is to see it yourself.

The live music, arranged and provided by Emily Dantuma’s cello and array of effects pedals, deserves special mention for its important role in heightening emotional tensions. The incorrect credit of Saint-Saëns’ Le Cygne to Satie in the program is the only criticism worth mentioning.

Transatlantic Love Affair’s emilie/eurydice runs through Nov. 21 at the Illusion Theater.

• About
• Latest Posts

Basil Considine

Basil Considine is the Editor of the Twin Cities Arts Reader. He served as Performing Arts Editor and Senior Classical Music and Drama Critic for the Arts Reader's first five years before succeeding Hanne Appelbaum. He was previously the Resident Classical Music and Drama Critic at the Twin Cities Daily Planet and remains an occasional contributing writer for The Boston Musical Intelligencer and The Chattanoogan. He holds a PhD in Music and Drama from Boston University, an MTS in Sacred Music from the BU School of Theology, and a BA in Music and Theatre from the University of San Diego.

Basil was named one of Musical America's 30 Professionals of the Year in 2017. He was previously the Regional Governor for the National Opera Association's North Central Region and the 2021-2022 U.S. Fulbright Faculty Scholar to Madagascar.

Latest posts by Basil Considine (see all)

• INTERVIEW: Sarah Nargang and Leading a Wayward Theatre Company - October 15, 2022
• PREVIEW: Anne Sofie van Otter at the Schubert Club - October 10, 2022
• REVIEW: The Veil of the Immortal Beethoven (Minnesota Orchestra) - July 31, 2022