When poetry meets music in ‘The Ruins’

Walking into the Guthrie Theater’s Dowling Studio for the first time felt like an event in itself.

This intimate space, closed since the pandemic shutdown, has been reactivated with “The Ruins: a play through music,” the world premiere of a new work by actor-playwright George Abud and director Osh Ashruf, running Oct. 3-12. Being in this theater-within-a-theater added to the evening’s sense of occasion.

At its core, “The Ruins” is simple: two strangers meet in a large room with bare walls, a cello, an oud – a Middle Eastern string instrument – and books of poetry. Soon, they discover they both have only days to live. What follows is a duet of words, music and movement as they wrestle with one haunting question: Were their lives enough?

As the title suggests, music does much of the talking. One character plays the oud, the other the cello, and their instruments become as expressive as their voices. Poetry, rhythm and dialogue flow together so seamlessly that at times the piece feels more like a concert than a play – which is part of its beauty.

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The performers – Abud and Sydney Shepherd – seem born to inhabit these roles. Their artistry spans acting, singing, dancing, reciting poetry and playing instruments live onstage. Every movement, note and word appeared honed with care. Watching such multi-talented performers at work felt like witnessing an intricate tapestry woven in real time.

The staging is minimal but powerful. Scenic designer You-Shin Chen provides a flexible, open canvas, while Mextly Couzin’s evocative lighting shifts the mood from playful banter to solemn meditation with simple but striking changes in color and intensity. Peter Morrow’s sound design subtly underscores the story, while Abbie Kenyon’s costumes keep the focus on the universality of the themes.

Ashruf has described the play as “an invitation to examine our mortality with kindness,” and that spirit shines through. The piece poses enormous questions – about life, love and meaning – but does so with gentleness. Humor, tenderness and even joy are woven into its existential fabric.

For me, the highlight was simply being back in the Dowling Studio. Experiencing this reopened space, with its iconic Amber Box view of the Mississippi River, felt almost as moving as the performance itself. The lighting was gorgeous, the atmosphere intimate, and it was a reminder of how much this theater means to our community.

“The Ruins” is a rare fusion of music and theater, inviting us to pause and consider our own lives: Are they enough?