The cast of The Rainmaker, (back row, from left) Thomas Esson, Matthew Forman, Phillip Wells, Joshua Jennings and Gregg Cummings Jr., (front) Hannah Gastineau and Tom Bradford

Consider This Prays for Rain
This month’s offering at the Swan Performing Arts Center was the family comedy-drama The Rainmaker, by N. Richard Nash. The intimate venue of the theater opened to the audience the home of the Curry family, whose already poor fortunes were increasingly threatened by an ongoing draught. Into the mix of family quarrels, centering around either the draught or the marital prospects of daughter Lizzie, are thrown the local constabulary and a traveling confidence man, who promises to bring rain.

The ensemble cast of The Rainmaker played off each other quite well. The Curry family, headed by Tom Bradford as the father H.C., were honest and believable in their interactions. Sons Noah and Jim, played by Gregg Cummings Jr., and Thomas Esson, and daughter Lizzie, played by Hannah Gastineau, each brought something unique to the stage. Bradford’s paternalism was genuine and sincere without being overly condescending. Cummings walked a fine line between cynicism and pragmatism that helped define the eldest Curry child’s role within the family. Esson delivered a truly delightful performance as both the comic relief and the soul of the family. Gastineau’s performance was refreshing as Lizzie searched for her own kind of happiness in a harsh world.

Though the cast were both talented and diligent, and director Barry Hardy did a good job rendering a full and complex family dynamic onstage, I did find it difficult to embrace this production fully. Billed as a Depression-era story, the sensibilities and costumes felt a bit too modern to resonate with what I anticipated based on the show’s publicity. It is also worth noting that profanity was edited from the show in accordance with the commitment of Consider This, Inc., to family-friendly entertainment. Though I understand that decision, I believe that the choice diminished the script and some aspects of its drama. This observation does not, however, diminish my anticipation of the company’s next offering.

If you’d like to learn more about Consider This, Inc., and the Swan Performing Arts Center, the group is hosting an open house meeting Aug. 4th at 7 p.m. The meeting will take place at the Swan, located at 1203 Park Avenue in Murfreesboro.

A Motley Crew Storms MLT
With reckless abandon, The Pirates of Penzance descended upon the stage of the Murfreesboro Little Theatre. This rendition of the Gilbert & Sullivan classic, directed by Todd Robinson, was part classic opera and part Monty Python. Much to the delight of the audience, the slapstick abounded in this irreverent production. A simple set, designed by the director himself, provided a rich and colorful canvas for the events of the evening, and the outstanding two-man orchestra was a flurry of fingers as heady music filled the theater.

Leading the cast were Jason Witt and Emily Davis as would-be lovers Frederic and Mabel. Witt has a young, delicate tenor that seemed occasionally overwhelmed by the breadth of the score, but Davis, who demonstrated vocal control and flexibility nothing short of remarkable, complemented and sustained him admirably. Also notable was the performance by Jamie Kirkland as the nursemaid Ruth; Kirkland provided a truly committed comedic performance that had the audience in tears. The ensemble bands of pirates and daughters, fated to each other in true Gilbert & Sullivan style, were bawdy and raucous, and their antics and energy carried the show.

The Pirates of Penzance was an enjoyable experience, though I personally would have preferred a bit more restraint from some of the performers. While the best of comedy is a collection of moments well seized, the occasional foray into overly ambitious ad lib and the complete destruction of the fourth wall in this production were often distracting. Though it cannot be written that a single performer failed to commit entirely to his or her character, I wish that same level of commitment had been brought to the script. I will, however, freely admit that, based on the reactions of those around me, I was of a singular opinion in this regard.

Heartbreak at the Center for the Arts
To continue a summer of classic drama, the CFTA this month offered the perennial classic Romeo and Juliet. I am always delighted when given the opportunity to see Shakespeare locally, and I definitely was not disappointed by this production. First-time director McKenzie Wallace tackled the well-known script with finesse and aplomb.

Michael Adcock and Blair Allison were fantastic as the titular star-crossed lovers; their chemistry and yearning were palpable. More than one scene was stolen by Tyler Dixon as the passionate Mercutio; Dixon has performed with multiple productions at the Center for the Arts, but this was by far his most skillful performance. Also very notable were the performances of J.T. Donaldson as Tybalt and Ben Hornsby as Friar Lawrence. Donaldson’s performance was compelling and engaging; Hornsby’s holy man was the epitome of sincere and wise counsel.

In an era of constant media inundation, I feared that this production would suffer from a Baz Luhrmann-esque freneticism of modernization. However, rather than dictating a specific era, Wallace cleverly chose to create an atemporal anytime. With costumes that drew inspiration from various periods across the past five centuries and set decorations that borrowed from multiple eras, the effect served to highlight the timelessness of what is arguably Shakespeare’s most beloved creation.

Leah Fincher and Justin Hand starred as Becca and Howie in Out Front on Main’s production of Rabbit Hole

Out Front Journeys Down the Rabbit Hole
An unexpected delight, the recent production of Rabbit Hole at Out Front on Main was simply marvelous. Director George Manus and his excellent cast delivered a nuanced, moving show that wrestled with the depths of grief in the wake of a loss.

Leah Fincher returned to the Out Front stage as Becca, a grieving mother whose young son had been killed in a traffic accident eight months prior to the events of the show. Justin Hand joined Fincher as Howie, Becca’s husband. Fincher and Hand are an amazing duo; together they created a deeply moving morass of pain that percolated throughout the play. Also fantastic was Meg Davis as Izzy, Becca’s sister. The interactions between Fincher and Davis were magnificent; their relationship was unquestionable as they struggled with and against each other.

Rabbit Hole represents a new high point for Out Front on Main and for Manus, whose direction here was superlative in every way. Scenes crafted in complete silence were heart-rending and visceral, but humor was never far behind. The emotional journey for the audience was simply unforgettable. I heartily commend Manus and his cast on this outstanding production.