Review: EURYDICE at University Of Central Arkansas Theatre

I love how inventive the University of Central Arkansas Theatre program was with their performance of Eurydice by Sarah Ruhl. Directed by Lauren Carlton and presented in the James M. Bridges Black Box Theatre at the Windgate Center for Fine and Performing Arts in Conway from April 11–20, the production brought this modern tragedy vividly to life through compelling performances and a hauntingly poetic atmosphere that lingered long after the final scene.  

Inspired by the ancient tales of Virgil and Ovid, Eurydice unfolds like a dream—fragile, haunting, and brimming with sorrow. At its heart is Eurydice (Crystal Daniels), a young woman bewitched by the lyrical genius of Orpheus (Jett Holbert). Their love is swift and intoxicating, sealed in marriage. But their joy is short-lived. The Nasty Interesting Man—who reveals himself as the sinister Lord of the Underworld (Marseiko Jackson Jr.)—is captivated by Eurydice's beauty and lures her to her death, drawing her into his dark domain. 

There, in the surreal landscape of the Underworld, Eurydice passes through the River of Forgetting—but not entirely. Memory clings. Slowly, fragments of her past return, especially the face of her father (Keiren Minter), who waits for her in death with love that time could not erase. 

Meanwhile, Orpheus, inconsolable and burning with grief, descends into the depths in search of his lost bride. The Lord of the Underworld strikes a cruel bargain: Eurydice may follow Orpheus back to the living, but he must not look back—not even once—or she will be lost forever. Just as they near the threshold of life, silence and doubt betray them. Orpheus turns. A glance. A tragedy. Eurydice is pulled back into the shadows, and this time, her memory fades completely—even her father’s name is lost to her. 

While the myth of Orpheus and Eurydice is often told as a love story between a poet and his muse, what struck me most in this adaptation was the aching, luminous bond between Daniels’ Eurydice and her father. Their reunion in the Underworld was portrayed with such gentleness and raw honesty that it became the emotional heartbeat of the play. Minter brought a quiet dignity and warmth to the role of the Father, and Daniels responded with a vulnerability that made their scenes together shimmer with life. In a world of memory loss and shadow, their connection felt defiantly human. 

As Orpheus, Jett Holbert brought an endearing sincerity that made the poet-musician feel less like a mythical hero and more like a tender, heart-on-his-sleeve young man consumed by love. Holbert’s portrayal was beautifully understated—his quiet yearning, his scribbled letters to Eurydice, and the music he carried in his soul gave the character a sweetness that made his grief all the more gut-wrenching. 

But this wasn’t all soft sorrow—no, the Underworld had teeth. And madness. Marseiko Jackson Jr. as the Lord of the Underworld was a devilish delight. Equal parts carnival clown and chaos goblin, his unhinged interpretation added a jolt of danger to every scene he entered. Whether manically looming on stilts or growling with glee, Jackson Jr. commanded the stage with wild-eyed unpredictability that perfectly captured the absurd menace of Ruhl’s script. His twisted charm made it easy to see how someone could fall under his spell—and why escape from his realm was so elusive. 

And then there were the Stones—Big Stone (Delaney Brown), Little Stone (Jade Coldiron), and Loud Stone (Shiloh Seward)—who were absolutely magnetic. Initially stoic and strange, they grew increasingly dramatic as the story unraveled, their emotions sharpening like chisel strikes on granite. I adored their evolution from cold commentators to something eerily personal and performative. Their presence echoed the function of a Greek chorus, grounding the audience in the mythic while also reacting with theatrical flourish to each heartbreak and twist. The trio’s physicality, timing, and tonal shifts added texture and rhythm to the underworld scenes, and I found myself looking forward to each of their interjections. They were a fun trio to watch. 

Productions like this are a testament to the remarkable talent and vision coming out of the University of Central Arkansas Theatre program. From bold direction to fearless acting, from innovative design to ensemble storytelling that lingers long after the final blackout, UCA is clearly cultivating the next generation of storytellers with both heart and artistry. If you're a student with a passion for theatre—whether you're drawn to the spotlight or the magic behind the scenes—UCA is a place where your voice will be heard, your ideas will be valued, and your creativity will be challenged in the best possible way. 

For more information on their amazing program, visit their website at https://uca.edu/theatre. 

Production Team

Director -- Lauren Carlton

Production Manager/ Technical Director -- Austin Aschbrenner

Assistant Director -- Nancy Miller

Stage Manager -- Will O'Neill

Assistant Stage Manager -- Kathryn Bale

Dramaturg -- Emberlynn Pendergraft

Company/House Manager -- Joshua Gibby

Arkansas Awards - Live Stats

Best Musical - Top 3

1. THE WIZARD OF OZ (Arts One Presents)

12.5% of votes

2. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.3% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.9% of votes

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