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ABSTRACT Balancing the Mythic and Mundane: a Director's Approach to Sarah Ruhl's Eurydice Amber Mcginnis Jackson, M.F.A

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ABSTRACT Balancing the Mythic and Mundane: a Director's Approach to Sarah Ruhl's Eurydice Amber Mcginnis Jackson, M.F.A ABSTRACT Balancing the Mythic and Mundane: A Director’s Approach to Sarah Ruhl’s Eurydice Amber McGinnis Jackson, M.F.A. Thesis Chairperson: DeAnna Toten Beard, Ph.D. American playwright Sarah Ruhl’s work is characterized by a distinct ability to contrast mythic themes of life, love, and death with the quotidian aspects of everyday life. Ruhl’s 2003 play, Eurydice, poignantly addresses these subjects as she uses the architecture of the Orpheus myth to frame the story from the contemporary perspective of his lost love. In Eurydice, Ruhl joins a long lineage of artists who have been inspired by the universal, timeless quality of the ancient myth. This thesis offers an examination of one director’s approach to Sarah Ruhl’s Eurydice. The study details the biography of the playwright, examines her body of work, and offers a complete analysis of the play. It also follows the production process of the Baylor University Theater staging of the play from conception to performance. Balancing the Mythic and Mundane: A Director’s Approach to Sarah Ruhl’s Eurydice by Amber McGinnis Jackson, B.A. A Thesis Approved by the Department of Theater Arts ___________________________________ Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee ___________________________________ DeAnna Toten Beard, Ph.D., Chairperson ___________________________________ Marion D. Castleberry, Ph.D. ___________________________________ Stan C. Denman, Ph.D. ___________________________________ Lisa C. Denman, M.F.A. ___________________________________ David Jortner, Ph.D. ___________________________________ John Thorburn, Ph.D. Accepted by the Graduate School May 2009 ___________________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2009 Amber McGinnis Jackson All rights reserved TABLE OF CONTENTS List of Figures v Acknowledgments vi Chapter One: Sarah Ruhl and Eurydice 1 The Poet Turned Playwright 2 Recurring Themes and Style 16 Orpheus and Eurydice: The Evolution of the Myth 21 Ruhl’s Inspiration 30 Conclusion 34 Chapter Two: An Analysis of Eurydice 35 Plot Synopsis 35 The Postmodern Tragedy 42 Structure and Thematic Content 45 Given Circumstances 49 Language, Symbols, and Recurring Images 52 Character Analysis 57 Eurydice 57 Orpheus 61 The Father 63 The Nasty Interesting Man/ Lord of the Underworld 65 Stones 67 Conclusion 70 Chapter Three: The Design Process 71 Play Selection 71 Selection of Space and Design Team 73 Development of Director’s Concept and Pre-production Meetings 74 Set Design 79 Lighting Design 83 Sound Design 86 Costume Design 90 Make-up and Hair Design 95 Properties 97 Conclusion 99 Chapter Four: The Rehearsal Process 100 Auditions and Casting 100 Rehearsals 107 Tablework 107 iii Staging 112 Tone and Character Development 116 Technical Rehearsals 120 Dress Rehearsals 123 Performances 125 Conclusion 126 Chapter Five: Self-Analysis 127 Design 127 Set 129 Lighting 131 Sound 132 Costume 133 Working With Actors 134 Final Product 137 Conclusion 140 Appendices 142 A— List of Textual Changes 143 B—Text Comparison Chart 145 C—Scaled Set Model 150 D—Production Photos Featuring Set Design 151 E—Production Photos Featuring Lighting Design 153 F—Production Photos Featuring Costume and Make-up Design 155 G—“Elements of a Character Portrait, or the Hot Seat” 161 H—Promotional Media 162 Works Consulted 163 iv LIST OF FIGURES Scaled Set Model 150 Figure C.1. Photo of completed set model 150 Production Photos Featuring Set Design 151 Figure D.1. Production photo featuring complete view of the set design 151 Figure D.2. Photo of elevator in set design 152 Production Photos Featuring Lighting Design 153 Figure E.1. Photo demonstrating contrast of warm and cool lighting tones 153 Figure E.2. Photo demonstrating textural enhancement in use of “gobos” 154 Figure E.3. Photo illustrating use of “specials” in lighting design 154 Production Photos Featuring Costume and Make-up Design Figure 155 Figure F.1. Photo demonstrating contrasting shapes between characters 155 in costume design Figure F.2. Photo demonstrating warm colors used in the world of the living 155 Figure F.3. Example of dye used to achieve water effect in the costume for the father 156 Figure F.4. Photo of Eurydice’s coat upon her arrival to the underworld 157 Figure F.5. Photo illustrating change made to Eurydice’s wedding dress in underworld 157 Figure F.6. Production photo of stone costumes representing contrasting silhouettes and different time periods 158 Figure F.7. Example of dye used in Orpheus’ costume upon second arrival to underworld 159 Figure F.8. Lord of the underworld costume inspired by Angus Young 159 Figure F.9. Illustration of make-up inspiration in original costume 160 renderings Promotional Media 162 Figure H.1. Poster designed for promotional purposes 162 v ACKNOWLEDGMENTS I would like to extend my deepest thanks to my thesis advisor, Dr. DeAnna Toten Beard, who taught me that the only way to learn how to write a thesis is to write a thesis. Thank you for your patience throughout this long, tedious process and for helping me shape this document one page at a time. My sincerest thanks to Dr. Marion Castleberry for believing in my talents enough to bring me into the program at Baylor University. I cannot thank you enough for the opportunities you have given me. I would also like to thank Lisa Denman for her mentorship and guidance as my production advisor and Dr. John Thorburn for his enthusiastic presence as an outside reader. I cannot even begin to express the depth of my gratitude for the talented team of actors and designers that made this production possible. I appreciate their imagination and quirkiness, which made this play such a suitable match for us all. Their positive, collaborative spirits made this production a fulfilling and memorable adventure. I would also like to thank my fellow graduate students, especially Traci Ledford, who walked beside me through each step of this process. Finally, I would like to thank my family, who instilled in me the work ethic and passion for theatre that made this rigorous process bearable. I also extend my deepest appreciation to my husband, Ed Jackson, whose patience, strength, and encouragement has carried me through this journey. vi CHAPTER ONE Sarah Ruhl and Eurydice Introduction “She’s going to become her own vocabulary word,” says Pulitzer Prize-winning playwright, Paula Vogel of her former student, Sarah Ruhl (qtd. in Wren). Only in her mid-thirties, Ruhl has an impressive resume of produced works, including Lady With the Lap Dog and Anna Around the Neck: Chekhov Shorts (first produced in 2001); Melancholy Play (2001); Virtual Meditations # 1 (2002); Melancholy Play (2002); Orlando (2003); Eurydice (2003); Late: A Cowboy Song (2003); The Clean House (2004); Demeter in the City (2004); Passion Play: A Cycle in Three Parts (2005); Dead Man’s Cell Phone (2007); and In the Next Room (or the vibrator play) (2009). Ruhl was a recipient of the Helen Merrill Award and the Whiting Writer’s Award in 2003; in 2004 she won the Susan Smith Blackburn Prize for her most highly-praised work, The Clean House, which would go on to receive a Pulitzer Prize nomination in 2005. Most recently, Eurydice was selected as one of ten plays included in The Best Plays Theatre Yearbook 2007-2008. Ruhl was also a recipient of the prestigious MacArthur “genius” Fellowship in 2006, which awarded her with a $500,000 grant. The only playwright to receive the award that year, she was described as, “a playwright creating vivid and adventurous theatrical works that poignantly juxtapose the mundane aspects of daily life with mythic themes of love and war” (Goodman). This unique juxtaposition of the mythic and mundane has given Ruhl a strong reputation as a playwright with a truly original voice. 1 This study details the research, discovery, and artistic processes of directing Eurydice, Ruhl’s contemporary retelling of the Orpheus myth. In Chapter One, an analysis of the playwright’s upbringing, influences, and style, combined with a brief examination of the myth’s evolution throughout history, lays the foundation for the directorial analysis in Chapter Two. This analysis explores issues of style and character along with important thematic concerns within the play, such as death and memory. Chapter Three and Chapter Four navigate through various aspects of the design collaboration and rehearsal process. The final chapter reflects upon the challenges of tackling this difficult but rewarding artistic project. The Poet Turned Playwright “I always knew I wanted to be a writer of some sort.” Sarah Ruhl (qtd. in Sanford) Sarah Ruhl was a student of poetry at Brown University in the mid-nineties, but when her father died during her sophomore year, she found it difficult to go back to her poetry, having in her opinion exhausted the “confessional ‘I’” during her mourning process (Sanford). After taking some time off from school, Ruhl returned to Brown for her junior year and embarked on her first playwriting venture in a class taught by Paula Vogel, who had already achieved great success with her Obie Award-winning play, The Baltimore Waltz. (Vogel would soon win the Pulitzer Prize for her 1997 play, How I Learned to Drive). Ruhl signed up for Vogel’s playwriting class after seeing The Baltimore Waltz, which she now references as a sort of Rosetta Stone for her own work (Sanford). Ruhl’s initial assignment for Vogel’s class was to write a ten-minute play featuring a dog as the protagonist. What came was her first short work, “Dog Play,” 2 which utilized Kabuki staging techniques to tell the story of a dog who seeks to comfort a family in the loss of their father.
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