Conservatory Brings Poetic Staging and Dynamic Characters to Sarah Ruhl’s Eurydice
When the curtain rises on the Warehouse Theatre stage this weekend, audiences will step into an Underworld built from memory, movement and profound student craftsmanship.
The Stephens College Conservatory for the Performing Arts presents Sarah Ruhl’s award-winning drama Eurydice as part of its 79th season, offering four performances between Oct. 30 and Nov. 1.
The Story Behind the Myth
Reversing the traditional myth in which Orpheus takes center stage, Ruhl’s poetic script centers on Eurydice after her sudden death on her wedding day. Once in the Underworld, she reclaims her voice through conversations with her deceased father, forcing her to confront what it means to remember, to love, and to let go.
“Most of us have heard some version of the myth of Orpheus and Eurydice, but Ms. Ruhl asks us to look at the story from a different perspective,” said guest director Jenise Cook. “Are there key pieces of this story we may have never considered or were never revealed to us? And how might these uncovered pieces connect to something we have experienced in our own lives?”
A Director Who Builds from the Ground Up
Cook, whose extensive background combines stage direction, movement choreography, and trauma-informed intimacy direction, previously worked with Stephens students earlier this semester as intimacy director for Spring Awakening. Returning to direct Eurydice, a play she has staged before, gave her the chance to approach the material with fresh eyes and a student-centered process.
“I come from a devised theatre background, so I love building storytelling from the ground up,” Cook said. “I want us to explore, play, and try different possibilities before deciding that our first choice has to be the final one. I say almost every day in rehearsal, ‘I have a crazy idea… Can we try it?’”
Cook noted that Ruhl’s script intentionally leaves the physical world open to interpretation, giving student designers room to innovate and bring their own artistic identities to the production.
Designing the Underworld
Translating that creative freedom into physical reality was scenic designer Emrys Rico-Ragland, a second-year technical theatre and stage management major with a focus on technical direction and design. Serving as both scenic designer and head carpenter, Rico-Ragland navigated the intricate geometry of Ruhl’s setting – a challenge that proved to be one of the most formative experiences of their academic career.
“As a designer, it’s my job to bring the director’s vision to life,” Rico-Ragland said. “Without scenery, there would be no set, and without a set, the show would be pretty boring to look at. You need scenery to give context to the action and storytelling.”
Rico-Ragland added that the conservatory’s immersion model – including mandatory weekly shop hours – gives tech majors immediate career readiness across carpentry, lighting, and scenic construction.
“Having experience across multiple sides of technical theatre means that there are a lot more jobs that you’re qualified for,” Rico-Ragland said. “You are more likely to be chosen for them due to your ability to float and help out where you’re needed.”
Finding Eurydice
Onstage, sophomore acting major Avery McDonald leads the cast in the title role. McDonald prepared for the emotionally layered character through script analysis, visual mood boards, and character playlists, finding depth in Eurydice’s internal tug-of-war between the world of the living and the peace she discovers below.
“Eurydice is trying to find her identity until she reconnects with her father in the Underworld,” McDonald said. “Jenise broke each scene up depending on which characters were involved, and she was really collaborative, wanting us to play around with our characters and make them our own. I learned so much about myself and the character in the process.”
A Community Built on Trust
McDonald emphasized that the supportive atmosphere within the Conservatory fosters the kind of creative risk-taking that a play like Eurydice demands.
“When starting up rehearsals, Jenise has everyone circle up, and we clap in to connect with each other and the space,” McDonald said. “Everyone in the cast and crew is trustworthy, and it feels like a safe space where I don’t have the fear of being vulnerable.”
For Cook, watching students step into that trust and take creative ownership is the ultimate reward of the directing process.
“Getting to watch students take the wheel and bring what we have explored in rehearsal and production meetings to life is one of the best parts of directing,” Cook said. “The students inspire me. Working with them reminds me to stay curious, keep seeking knowledge, and play.”
A Play You Don’t Want to Miss
With tickets priced at $15, Cook encourages students and the broader Columbia community to witness the production firsthand.
“Eurydice is a beautiful, strange, and moving experience, and I promise you have not seen a love story like this one,” said Cook. “You don’t need to know the original Greek myth to enjoy it. Just come with an open mind and be ready to step into a world that might surprise you.”
Where: Warehouse Theatre, 104 Willis Avenue, Columbia, MO 65201
Showtimes:
- Oct. 30th – 11 a.m. & 7:30 p.m.
- Oct. 31st and Nov. 1st – 2 p.m.
Sneak Peek of Rehearsal & Stage Design
