By Sarah Ruhl I Directed by Dawn McAndrews

On her wedding day, Eurydice falls victim to a tragic accident that sends her hurtling into the Underworld, erasing her memory and reuniting her with her long-dead father. When Orpheus arrives to save his bride, Eurydice is torn between her desire to return to the real world and the tender relationship she rediscovers with her father in the afterlife. Brimming with lyrical beauty, and Ruhl’s trademark wit, Eurydice is a visceral and surreal meditation on love worth grieving for.


Thursday, July 28, 7:30 p.m. (Preview/ Monmouth Night)
Friday, July 29, 7:30 p.m. (Opening Night)
Wednesday, August 3, 1:00 p.m.
Saturday, August 6, 7:30 p.m. 
Sunday, August 7, 1:00 p.m.
Thursday, August 11, 7:30 p.m.
Saturday August 13, 1:00 p.m.
Sunday, August 14, 7:00 p.m. (Post-Show Discussion to follow)
Wednesday, August 17, 7:30 p.m. (*Winery Wednesday)
Friday, August 19, 7:30 p.m. (Closing Night)

*Winery Wednesday performances will take place outside under a tent at WillowsAwake Winery. 10 Leeds Junction Rd. Leeds, ME 04263

Production Team

Dawn McAndrews

Dan Bilodeau
Set Designer

Michelle Handley
Costume Designer

Sophie Harrington
Asst. Stage Manager

Ingrid Pierson
Stage Manager

SeifAllah Salotto-Cristobal
Lighting Designer

Lorriane Slone
Fight, Intimacy, Movement Director

Paige Stone
Props Master

Rew Tippin
Sound Designer


A.J. Baldwin
Big Stone

Thomas Campbell

Trezure Coles
Lord of the Underworld

Rebecca Ho
Little Stone

Amber McNew
Loud Stone

Jamie Saunders

Michael Dix Thomas

From the Director

How far would you go to retrieve something you lost? What would be worth the journey? An item. A memory. An idea. A Love. What would you be willing to give up in return?

Sarah Ruhl’s dramatic revision of the Orpheus myth, is largely based on Ovid’s retelling of the tale. At the heart of Eurydice is the same profound sense of loss that can be traced in Ovid’s work. Ruhl’s Eurydice is written in movements – a silent symphony of love, loss, memory, and stillness. The play is an elegy. It is also whimsical and surreal with a nod to Lewis Carroll’s Alice in Wonderland. Emotion is heightened, fleeting, childlike, and profound.

As in the original Orpheus myth, Eurydice is about the dangers of looking back. On the day of her wedding, Eurydice looks back, wishing her dad could be there, this opens a crack in the space between reality and desire. And that schism creates the in-between that leads her to ignore her instincts, bringing on her demise. Reunited with her father in the Underworld, Eurydice intuits how to survive, but, as if fated to do so, there is again looking back, which comes at a terrible cost. Looking back offers momentary rewards, but dwelling in that backwards glance is dangerous. And has consequences. Ruhl’s play uses the basic myth as inspiration, but differs in many ways. As classicist M. Owen Lee said in his book Virgil as Orpheus, “A great artist never touches a myth without developing, expanding, and sometimes radically changing it.” Eurydice’s father doesn’t play a role in the original myth, but he plays a pivotal role in Ruhl’s play. In the classical versions of the story, Eurydice is a passive victim. In Ovid’s version of the story, she doesn’t speak at all and in Virgil’s poem she says only a few words after Orpheus has already looked back at her. In Sarah Ruhl’s Eurydice, she is given both a voice and a choice. And perhaps most significantly, the opportunity to feel, one last time, a father’s love, and a husband’s sacrifice.