“Ladies at the Alamo” at Theatre One

By Richard Pacheco

            Theatre One closes its season with Pulitzer Prize winner Paul Zindel’s fierce comedy “Ladies at the Alamo” which takes a searing look at life behind the scenes at a Texas theatre in Texas City in the throes of a power struggle. The five women cast seethe with comic venom as they go down and dirty with each other in an attempt to run the theatre through all manner of finagling and double dealing from which no one is immune. It is propelled by a talented and fierce cast full of fire and with relentless energy.

            The setting is the lavish reception room of the new multi-million dollar Alamo Theatre, which grew from its modest beginnings to one of the gems of Texas culture. It opens as the leadership of Dede Cooper, the founder and artistic director is under fire, challenged by the chairman of the board, a woman of great wealth and a unsatisfied lust for power and control with a passionate desire to replace Dede. Joanne wants to bring in a hand picked replacement and squeeze Dede out. She will not go without a fight.

            Kathy Bourne is Dede Cooper, a woman who knows how to fight her way up from tough beginnings. She is determined, dedicated with tunnel visions on her goals as the theater director, come what may. This Texas flower has loads of thorns and does not hesitate to use whatever she has at hand to defend herself against all comers. Bourne is a delight with her Southern twang and non nonsense demeanor. She can smile with the best of them while poising for the frontal attack to rip her enemies to shreds without mercy.

            Linda Merritt is the wealthy sophisticate, Joanne Remington, a woman with more money than she knows what to do with and believes since she gave so much to the new center she has a right to control it all no matter who gets in her way. She is snobby, wealthy, oozes privilege and condescension towards all, particularly Dede. Merritt is right on the mark as Joanne, a perfect mixture of poise and nastiness that delights while it surprises.

            Amanda Hayter is Bella Gardner, the feisty, outspoken, often outrageous best friend of Dede and the town slut. Her mouth and her body know no bounds and are confined by nothing except her whim and whimsy or by her capricious will. Hayter is sass and spunk as Bella, the hard drinking, boisterous good time gal with no reservations and constraints.

Jess Wilson is Suits, Joanne’s right hand, and somewhat shady assistant, who seems like she would stop at nothing to help her boss achieve her goals, at once fierce and menacing. Wilson is overbearing and ominous as the character requires and she does it with skill, flair and determination as well as menace. Yet she is also capable of touching monologue she gives in Act II.

Susan Salvesen is the aging movie star Shirley Fuller, who returns to the theater where she got her start, this time to take over after her movie career seems to tank and her options are few. She has left her Texas twang behind and struts about with the poise of a once confident star, now brought low by life. Salvesen is the epitome of the overbearing movie star, tons of bluster and trembling in insecurities, too many to mention.

This keen cast is right on the mark, full of fun and oozing nastiness when they battle, ladies in name only. Here, the battleground is equal and no matter where you came from, money and sophistication or the down and dirty Texas streets, it all evens out when the claws come out for attack and defend with delicious malice.

Director Peg Holzemer, who directed this play in the 1980’s at Theatre One, has brought it back again with equal success and flair. The pacing is taut, the lines delivered with scornful and lively flair for a dose of pure venomous fun.

“Ladies at the Alamo” is feisty, down and dirty fun, loaded with verbal venom and raw attitudes across the boards. The terrific cast keeps it all racing along with energy and impudence that is impressive and hilarious. You don’t want to tangle with these so called ladies at all, not if you hope to get out intact.

It continues at Alley Theatre 133 Center Street Middleboro. March 12- 22 at 7:30pm Sunday March 22 at 2pm.  Tickets at the Door “Cash Only” Students & Seniors $15 Gen $18 Food Donations for the COA Senior Food Pantry accepted at all Performances. Info 1-774-213-5193.

“The Last Five Years” at Ocean State

By Richard Pacheco

            “The Last Five Years” at Ocean State Theatre, the directorial debut of Joel Kipper is a good concept gone wry. It is Jason Robert Brown’s unconventional look at the break up of a marriage, inspired by the break up of his marriage. It is told by the couple, each telling the tale in opposite directions, her from the end to the start and he from start to finish.

            One of the major problems with the show is it gets confusing about who is where. Brown is a three time Tony Award winner but this show does not show off his strengths at all. The music is without variety and a bit monotonous for the 90 minutes, with the emphasis on jazz and through composed, meaning there is no dialogue (aright precious little) dialogue through out to hold it together and give us the relationship between the characters.

The two characters tell their tales with little interaction, the only spot is a song about their wedding, and it leaves you with two separate stories which can often be difficult to untangle and characters about who it is difficult to care. When it played in New York, it only ran from March to May Off Broadway in 2002.

One of the songs, “The Schmuel Song” about a Jewish tailor is totally unnecessary and adds nothing to the story. Whatever flow it might have is disrupted by the intermission. It could be missing with no loss at all.

So much of their tale is nebulous and vague, You learn that he gets somewhat famous and she gets jealous and he ends up cheating on her. They may or may not have had a child together as it is difficult to tell. Nothing is substantial or lingering in the memory. The premise of the show is established in the first scene, but we do not get toe learn much about them in detail, it is all vague, somewhat nebulous as their marriage disintegrates.

Neither actor is an overly impressive singer. Alyssa Gorgone as Cathy at time has trouble with pitch. David Demato as Jaime often bellows and bullies his way through songs.

Alyssa Gorgone plays Cathy, the wife. She is an aspiring actress whose career is best by many difficulties while her husband’s seems to take off from day one to ever greater heights. She is at times uncertain and lacks self confidence, but at first certain she ill love him forever. After all, who goes into a marriage with the intent of divorce? She constantly battles the demands of an acting career, with its endless disappointments and frustrations with his ever building success as a writer, reaching higher and higher levels in society. She starts with resentment aimed at Jaime and it seethes and grows constantly, destroying whatever they once had. She has energy, but often strains for pitch.

David Demato is Jaime, her Jewish husband. He is infatuated by his wife from the first moment. He is also infatuated with his ever growing career which starts to soar from the first moment. It creates conflicts in the marriage and puts him in temptation’s way as his writing reputation grows and his wife’s resentment and jealousy grows at an equal rate. He ends up being massively disenchanted and ready to love on by packing what he owns into a box and leaving, tired of the life they now share from the glowing romance brimming with hope he believed they once had. With many songs he bellows, yet he manges to maintain some degree of charm as the ever successful Jaime.

Director Joel Kipper tires to keep the pacing on the mark, but the musical presents some insurmountable difficulties for him or any director. One of the most difficult is the characters we don’t care about very much anymore than the tale of strangers on a plane in passing. The production is disappointing on so many levels.

Kimberly Powers set design has an innate charm and flair which is a definite plus. The look is excellent and endearing.

"The Last Five Years" (25 February - 15 March)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

“The Meeting” at Ocean State Theatre Company

by Richard Pacheco

            The Jeff Stetson play, “The Meeting” currently at Ocean State Theatre  is inspired by an imaginary meeting between Martin Luther King, Jr. and Malcolm X in February 1965 in a hotel room. It is fast paced and vivid sparked by solid performances and deft direction.  It is the New England premiere.

It gets off to a slow start with montage of images and newsreels before and after the show. While the images are solid, they go on to long before anything happens onstage. When the play starts it is often taut, intense and provocative. The conflict of the two ideologies is often compelling and always interesting as the two men go at it, philosophies overflowing and ready. The philosophical differences between the two are well known. Kind preferred the much slower peaceful transition to equality in their face of Malcolm X’s more aggressive in your face tactics.

It opens with Malcom X and his bodyguard, Rashad in the hotel room as he enters with his pistol drawn, poised for trouble. The two end up joking and singing a Billie Holiday duet while waiting for the “king of love.”

The meeting between the revolutionary and the two men are immediately contrasted in their methods from the first. When King arrives. Rashad helps him off with his coat and manages to sneak in a frisk of him as well which gets a laugh. Both Malcolm and King get equal billing, but Malcolm by far is the most dynamic. Malcolm asserts that “aggression in the name of self-defense is not violence, it’s honor.”

          

Damron Russel Armstrong is Malcolm X. He is full of energy, zest and passion. He has an intriguing and dynamic mind and is very animated. He is in your face and hard to ignore. Armstrong delivers a winning performance, full of fervor and conviction.
        Marcus Deward Johnson is Dr. King. He is a man restrained and determined, mild in manner and style. He does not resemble King at all but has mastered his mannerisms, spirit and voice to deliver a fine performance.

Tony Mitchell is Rashad, the bodyguard. He is a hulking presence at once ominous and protective. Mitchell is fine as the bodyguard in a vibrant performance and musters humor when needed in contrast to his ominous size.

Ocean State Theatre Company's Producing Artistic Director, Amiee Turner directs with a keen touch and eye to pacing in the best of her straight play direction efforts which is perceptive and always on the mark. She also designed the set which is simple and works well evoking a 60’s seedy hotel room.

Stetson keeps his writing crisp and often insightful, with many gems along the way. He clearly and deftly defines each man’s stance and tactics to achieve their goals. Their social and political goals are very clear. Kind the advocate of non violence and Malcolm the advocate of do what is necessary to get the hob done. Stetson does a fine job of imagining how such a meeting would have gone, with its humor along the way. Two moments stand out for humor, the one when the bodyguard frisks King under the guise of helping him off with his coat and the other a touching moment when King gives Malcolm and doll for King’s daughter to Malcolm’s after Malcolm’s home has been bombed the night before.

The arm wrestling between King and Malcolm echoes their philosophical battle in concrete terms, making it more theatrical. What happens over this philosophical confrontation is the two men gradually reach a level of mutual respect as King ponders how much they could have accomplished if they had managed to work together for their mutual goals. Even thought set in the 1960’s it relates to contemporary headlines and news.

It will be presented again at Ocean State through Feb. 15.

"The Meeting" (28 January - 15 February)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

“Collected Stories” at 2nd Story Theatre

by Richard Pacheco

            Donald Margules “Collected Stories” is 2ns Story Theatre’s current production and it brought vividly to life by two sparkling performances that resonate in heart and mind, rich and intriguing. The play was commissioned and premiered by South Coast Repertory, Costa Mesa, California in October, 1996, directed by Lisa Peterson. The play was a Pulitzer Prize finalist (shortlisted in April 1997).The Manhattan Theatre Club presented the play off-Broadway, at Manhattan Theatre Club Stage I, from May 20, 1997 through July 27, 1997.

            Ruth Steiner is a teacher and respected short story writer. Her student and protégée is Lisa Morrison. Over the course of 6 years, Lisa journeys from insecure, naive student to successful writer who is getting to be as famous as her mentot. After publishing a well-received collection of short stories, Lisa writes a novel based on Ruth's affair with the poet Delmore Schwartz when she was young. It creates a rift between them, driving a wedge deeper between the women. The women deal with the moral dilemma of whether a person's life events are suitable for another to use in their own creative process.

The first act evolves as the two women become closer, Lisa the sycophant, fawning over her adored idol and teacher. Ruth, become motherly, sharing not only wisdom from writing, but tales of growing up Jewish in New York and her affair with poet Delmore Schwartz which left an indelible and persona mark on her life. These are tales she means not to tell as she points out some things are not meant to be told when Lisa asks if she has written it yet. When Lisa borrows this for her novel their relationship explodes into a massive battle of betrayal and fears.

            Lynne Collinson, Executive Director of 2^nd Story Theatre is Ruth Steiner. Ruth is independent, crusty, suspicious and guarded as well as savvy in the ways for writers and the writer’s world. She was noticed for her collection of short stories, catapulted into the limelight and then, over the passing years allowed to slip back into a somewhat obscurity, known mainly as a teacher and not as much as a writer any longer. She keeps the world at bay and warily, reluctantly allows her new student into this rich past with shared stories that she has guarded for years. Collinson is wonderful in the role, full of passion and packed with sincerity as she negotiates the tricky straits between mentor and wounded woman. The fireworks for the final scene with Sherba are explosive and impressive, memorable on so many levels. It is a brilliant performance.

            Gabby Sherba is Lisa Morrison, Ruth’s protégé who goes through several years from nervous, shy student to a young writer moving into her own after a successful collection of stories and on the verge of publishing her first novel. She starts off talented, needy and ambitious, if a bit over solicitous. She is looking for an artistic parent figure and has found it in Ruth. She deftly handles the transition from meek, adoring student of writer coming into her own with finesse and honesty. This too is a spectacular performance.

What evolves here is two excellent performances, sure to linger in the memory for a long time rich, nuanced and vivid and truthful. Lisa in an act she believes to be a testament to her mentor appropriates elements of the tale for her much anticipated first novel. For Ruth, it is an act of total betrayal and perfidy.  The explosion between the two is magnificent theater, haunting and inescapable.

Director Mark Peckham keeps everything vividly on course with an incredible array of emotional impact and richness. His directing is crisp and multidimensional.

The set by Trevor Elliot is brilliant, rich in detail as it recreates a 1990 apartment complete with walls loaded with art and shelves packed with books and the view from the window of the next door building in the rain.

These are performances ripe with integrity and sincerity, full of fine touches and dense with a range of emotions all truthful and glowing. The two are spellbinding and wonderful performances that never miss their mark. It is riveting and compelling theater, particularly the final scene which is magnetic and searing, magnificent theatre.            “Collected Stories” runs through Feb 8 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, $21 for those 21 and younger. Call (401) 247-4200, or visit 2ndstorytheatre.com.  

“Speed the Plow” at Theatre One

by Richard Pacheco

            Theatre One glides into the New Year with David Mamet’s Hollywood satire, “Speed the Plow” recently given a revival in London with Lindsay Lohan as the  secretary.  The Theatre One Production has some rough moments, but recovers to deliver some satisfying performances in Mamet’s not always satisfying play. Newsweek described Speed-the-Plow as "another tone poem by our nation's foremost master of the language of moral epilepsy. When first presented in 1988, it was nominated for a Tony for best play, best direction and best actor.

            The play begins in the office of Bobby Gould, who has recently been promoted to head of production at a major Hollywood studio. It is his job to find scripts to green light to  studio head Richard Ross to be made into movies. Longtime colleague Charlie Fox shows up with a coup, a script that movie star Doug Brown appeared at his house with a script Fox sent him some time before, ready to commit. It is a major feat as Brown usually works with another studio and his participation will mean sure fire financial success for the film and boosts in all associated careers. Gould wants to present this project in person to Ross.

            It all turns around when Fox wants a cup of coffee and enter Gould’s  temp secretary, Karen. Gould tells Fox about a book he has been asked to give a "courtesy read" to, meaning that it is not seriously being considered to be made into a film because the author is "an eastern sissy writer." After she drops off the coffee, Fox, who thinks she is neither a floozy nor a conniving ambitious girl trying to make her way up the Hollywood ladder suggests that Gould try and bed her. Gould offers Karen the chance to take part in the Hollywood process by reading the book and making a recommendation.

            It is then it all goes wildly awry.

            Omer Courcy is Bobby Gould, a man with a big promotion and the ability to green light films to be made and on close terms with the studio head after years of toiling in obscurity. He is on the verge of the biggest break of his life, a total transformation that will make him into a Hollywood player, his longtime dream. He is in the midst of not only potential triumph, but crisis. Courcy captures the longing that Gould has for success and also his conflicting motives with passion and conviction. He can also be uncertain and fragile as he confronts his fears and his desire for success and his sense of emptiness and loss.

            Bobby Genereau is Charlie Fox, longtime friend and colleague of Gould who has a deal of a lifetime drop into his lap when a big time movie star shows up at his house with script he had given him and a timeline on the deal—by ten the next morning.  He is eager to succeed and particularly with this gem that dropped into his lap, at all costs. Genereau is a man excited and moved by loyalty to get this projects working with his longtime colleague. He can be effervescent as he rambles on about what will happen in the midst of this success and dogged about emphasizing his underlying loyalty to his friend in Hollywood, a land that often has no loyalties and no friends in the face of the dollar. He can also show the uncertainty and fear with determination.

            Amanda Hayter is Karen, the temp secretary, new to the ways and wiles of Hollywood, who finds herself with the chance to play in the big time. Is she as naive as she seems, simply caught up in the ever shifting drama of Hollywood moviemaking or is she really a savvy temptress with her own secret agenda. Hayter captures the naiveté of Karen with determination and conviction.  She also deftly evolves into the more sensual and determined siren who has her own agenda.

            The first act, which is mainly between Gould and Fox needs a rapid fire, overlapping staccato to work. There seems to be something slightly off between the two actors, not quite on the mark. While they are deft in their staccato exchange many times, it seems to remain slightly off target, never completely connecting. Near misses. As the play progresses, it all gets more on track and gets more satisfying. The second act is by far more satisfying as things come together and the conflict emerges. This is as much to do with the play as it is with the acting. The second act is stronger than the first when things seem to gel more, hit the mark with more precision and effectiveness.

            It can be fiercely funny and provocative at times and at other times dark and disturbing.

Peg Saurman Holzemer directs and works hard to keep the rhythm and pacing on target. During the first act it fails at various points, moving in and out until it stabilizes and maintains its pacing and focus.

It will be presented at the Alley Theatre Middleboro, MA, 133 Center Street from January 15-25. Call 774-213-5193 for tickets and information. Tickets are $20, and $18 for seniors (65 and older) and students (with ID).

“Meet Me in St. Louis” at Ocean State Theater

by Richard Pacheco

            Ocean State Theater’s holiday treat is “Meet Me in St. Louis” based on the 1944 movie and it is indeed a treat full of nostalgia, vintage Americana and simple good feelings in abundance. It is a purely fun show, a musical delight that evokes fond memories of bygone days. thing, but got some of the biggest laughs of the night.“Meet Me in St. Louis” is based on the 1944 film with Judy Garland and made it to Broadway in this version in the late 1980s. This show has spirit even with some flaws and is well worth seeing. It was the second-highest grossing picture of the year, only behind “Going My Way.^”
            It tells the tale of the Smith family in St. Louis with the 1904 World’s Fair soon toe arrive and it will be the Smith’s last Christmas in St. Louis before moving to New York for papa to pursue a promotion and a better career, despite the family’s reluctance at leaving the familiar far behind.
           Recent RIC grad Sarah Pothier is daughter Esther, the role played by Judy Garland in the movie and she has an excellent voice, full of energy and poise. She delivers a wining version of “Have Yourself a Merry Little Christmas”  and in her trio with sisters Rose and Tootie a delightful “under the Bamboo Tree.” Her acting is full of finesse and sincerity.
            Joshua Stenseth is Esther’s love interest the charming and dashing next door neighbor.  He is engaging enough in the role, managing to deliver a sensitive portrayal, but his singing is a bit weak.
            Bobbie Celine Doherty is little sister Tootie, a bundle of energy and feisty. Doherty is sheer delight in the role, and she gets some of the biggest laughs.
            Hannah Spacone is sister Rose who is flighty a bit self absorbed and blind to al the world’s feelings but her own. Spacone gives a engaging performance as this young woman.
            There is also brother Lon, played by Michael Luongo who turns out to be an exceptional dancer as well showing off his stuff in the square dance number and the delightful and winning “The Banjo” number.
            Lily McMahon is sister Agnes, who is Tootie’s partner ins crime at all times. She is a fun foil for Tootie, full of zest and sincerity.
            Rebecca Barko is their mother, Mrs. Anna Smith,  the ever dependable, loving matriarch of the family. She shines in “You’ll Hear a Bell.” She and her husband stand out in “Wasn’t It Fun.”
            Ronald L. Brown is her husband Alonzo, a bit cranky and more than a bit ambitious wanting to get a promotion at work, one which takes him and his family to New York, despite their protests. He was a terrific baritone voice which shines in “A Day in New York.”
            Mark S. Pothier is Grandpa, a warm caring man who loves his grandchildren and has a good rapport with them. Pothier shows a winning side as Grandpa, although his singing voice is somewhat lacking.
            Stacey Geer is Katie the Irish maid. She is full of energy and a distinct presence. She is an excellent singer who knows how to sell a song as she does in her trio with Mr. and Mrs. Smith, “A Touch of the Irish.”
            Director and choreographer  Gary John La Rosa makes some of the acting stylized which sometimes strikes a false note. His choreography however is impressive, from the stunning square dance done to “Skip to My Lou” with its cartwheels and flips galore. Or the rollicking “The Trolley Song” with its vibrant energy.
            Musical director Esther Zabinski is right on the mark with the orchestra, provding a rich musical accompaniment throughout.
            The sets by Charles Murdock Lucas are lovely and loaded with nostalgic touches of Americana. The proscenium mimics the old proscenium arches of turn of the 20^th century theaters with its carvings. Behind three panels in an old fashioned drawing style shows houses and it all opens on to the Smith family house filled with vivid detailed touches like vintage photographs, and a grand staircase.
            The Brian Horton turn of the century costumes are elegant and impressive both in style and number.
            The production has many jobs overall and ends up a special holiday treat well worth seeing and bound to strike a familiar and fond note.
            “Meet Me in St. Louis” runs through Dec. 28 at Ocean State Theatre Company, 1245 Jefferson Blvd., Warwick. Tickets are $39-$54. Call (401) 921-6800, or visit oceanstatetheatre.org. 

“Trip to Bountiful” at 2nd Story Theater

by Richard Pacheco

            “The Trip to Bountiful” currently at 2^nd Story Theatre is sheer delight with winning performances and deft direction. It turns into an uplifting story of the indomitable spirit and sheer determination of human will to triumph over all obstacles to their goal, a perfect touch for a holiday spirit.

It tells the tale of Carrie Watts, an elderly woman forced by circumstances to live with her henpecked son and shrill controlling daughter in law, Jessie May. Carrie has one dream, to return to Bountiful, where she grew up, a place full of fondness in her heart. Stuck in her small Houston apartment, she continually tries to escape that limited prison for the broader expanses of her memories rooted in Bountiful, much to the chagrin of her daughter-in-law. Her previous efforts to escape are always thwarted by her son and daughter-in-law’s arrival just as she is ready to escape by bus or train. She tries hard to escape to see her childhood home one more time before she dies. It means the world to her, a treasure she cannot miss any longer, nor avoid, in a sense, her destiny. She is frail but feisty and with a mind of her own no matter what.

            “The Trip to Bountiful” was written by Horton Foote. The play premiered March 1, 1953 on NBC-TV, before being produced on the Broadway stage. Its 1954 staging earned Jo Van Fleet a Tony Award for Best Featured Actress in a Play at the 8th Tony Awards. The role of Carrie Watts won Geraldine Page the Academy Award for Best Actress for the film adaptation and Cicely Tyson the Tony Award for Best Actress in a Play at the 67th Tony Awards for the 2013 Broadway production, which earned a total of 4 Tony Award nominations.

            Paula Faber is Carrie and the epitome of restraint and determination, dogged determination no matter what she encounters. She will return to Bountiful no matter what stands in her way. It is a quiet determination, an iron will that is usually under control and hidden beneath a savvy restraint. She evolves and grows on you, not just some crazy old lady who is willful and determined with no good reason. She has a purpose and knows what it is and will not relinquish it, ever. Faber is in control and delivers an admirable performance as Cassie, one full of nuance and fine emotional touches.

Nathaniel Lee is her son Ludie. He is totally henpecked and at his wife’s mercy as much as his mother and plays the role of peacemaker and diplomat between the two women with caution and concern. He worries about his mother’s health and recoils at his wife’s cloying, downright ill tempered and self centered disposition, particularly regarding his mother and her pension check. Lee delivers a fine performance, one with a sense of underlying suffering and patience to a fault.

Lara Hakeem is Jessie May whose idea of life is reading movie magazines and drinking cokes. She doesn’t work and lords it over Ludie’s mother like an empress. She rules the roost and knows it. She is only concerned about her wants and needs and non on else’s. She is controlling and offers a daunting presence which hovers over all like a dark cloud. Hakeem’s performance is right on the mark, a picture perfect portrayal of a demanding , self absorbed woman who is only concerned about her desires and needs and no one else.

There is some strong support here with the smaller roles which show up throughout the play.

Joe Henderson is the sheriff who catches up with Carrie and helps her complete her journey to Bountiful. Henderson is caring and sincere in the role humane and understanding of Carrie’s plight and his duties under the law. It is an excellent balance.

The3re is additional strong support coming from Jim Sullivan and John Connery as two bus station attendants. Erin Olsen is there to provide understanding and compassion as a fellow traveler, Thelma, whom Carrie befriends in her odyssey back home and does a wonderful job, sincere and convincing.

There is some find live music on hand provided by Eric Behr, who adds color and depth to the play with musical resonance.

Director Ed Shea keeps a keen eye to period detail here and the emotional substance of the play, providing a rich, vibrant experience. While the play itself does not refer to Christmas it evokes the kind of warm feelings associated with this time of year, through vivid performances and excellent sets.

The set by Trevor Elliot is evocative and fascinating. The earlier large panels of painted scenery are reminiscent of American Painter Edward Hopper, in their moodiness and element of melancholy which pervades them. The ones later in the show are more reminiscent of Andrew Wyeth, still with that element of sadness and sweet remembrance.

“The Trip to Bountiful” runs through Dec. 21 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for ages 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com.