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Friday, October 8, 2004
Civic
Theatre play brings clarity to '20s society, family life
BY CARINA HUME
NEWS-REVIEW SPECIAL WRITER
It's the American
southwest sometime in the 1920s, and a drought is occurring--at the Curry farm,
currently registering 101 degrees, and in leading lady Lizzie Curry's love life.
"The Rainmaker", a three-act play written by N. Richard Nash and
directed by Sally McCoy, is being performed by the Little Traverse Civic
Theatre. The play presents an intimate look at the social and familial
constraints in 1920s America and the importance of believing in something--if
only yourself.
Just returned home from a matchmaking trip gone awry, Lizzie, captured
eloquently by Ellen McKinney, faces up to her presumed spinsterhood with
courage, dignity and the truth in her heart. Armed with only a 9-year-old
boy's proposal, Lizzie is once again subjected to the mislaid plans of her
father's marital schemes, when a "rainmaker" suddenly shows up at
their door. For $100, Bill Starbuck, successfully played by Jerry Christin
in a role akin to an evangelist, promises rain. This eternal optimist--as
long as he's surrounded by believers--takes his chances on relieving the drought
in the Curry household as well.
Kendal Taylor, as father H.C. Curry, is fantastic. Traversing skillfully
between father, confidant and omniscient presence, Curry gently guides his
family in its decisions only bound by the time period in which he lives.
Scott Madden, as eldest son Noah Curry, tries to run the family as he runs the
farm. His blunt and ruthless character flirts with boundaries--even
boundaries well-meaning family members shouldn't cross.
Youngest son Jim Curry, played adeptly by Josh Hill, provides continuous
entertainment in his role as peacemaker and buffoon. The lovable
"Jimmy" knows best what it means to believe, and his faith is proved
true in the end.
Gary Albert, as deputy sheriff File, delivers another polished
performance. Living alone for the last six years has toughened his
demeanor and outlook on life in ways he must learn to cope with. His
future and the futures of others depend on it. And Bob Davis, as Sheriff
Thomas, provides File with gentle encouragement.
From the wanted posters haphazardly placed on the rough wood walls of the
sheriff's office to the variety of animal skulls and farming implements
displayed in the tack room, the intricate set offers a variety of staging.
Even the subtle feminine touches in the farmhouse--lace tablecloth and a rich
mauve color on the walls--provides additional insight into Lizzie's dream of one
day becoming a wife and mother.
The well-versed performance punctuated by period music and lighting effects skillfully
negotiates the underlying theme of balance and faith necessary in one's
life. Perhaps you'll leave learning something about yourself, as well.
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