OCP Ends Season with a Little “Ragtime”

Omaha, NE–Tony Award winning musical, Ragtime, will open Friday, May 31 at the Omaha Community Playhouse.  The show will run in the Hawks Mainstage Theatre from May 31-June 30.  Performances will be held Wed-Sat at 7:30pm and Sundays at 2pm.

A tragic, yet hopeful, tale, four time Tony Award winning musical, Ragtime, explores the pursuit of the American Dream and the meaning of family.  Set in the melting pot of New York City at the turn of the century, the lives of a wealthy white couple, a determined Jewish immigrant, and an African American ragtime musician intertwine, creating a rich tapestry of American life.  With soaring ballads and a stunning score, these characters are connected by their compassion, belief, and resolution that they, too, will find their place in the world.

Tickets are on sale now starting at $32 with ticket prices varying by performance and seating zone.  Tickets may be purchased at the OCP Box Office located at 6915 Cass St, by phone at 402-553-0800, or online at www.omahaplayhouse.com.

Production:  Ragtime (Written by Terrence McNally and based on the novel by E.L. Doctorow

Music and Lyrics By:  Stephen Flaherty and Lynn Ahrens

Directed By:  Kimberly Faith Hickman

Cast

Paul Tranisi as Father

Jodi Vaccaro as Mother

J. Isaiah Smith as Coalhouse Walker

Dara Hogan as Sarah

Mike Palmreuter as Tateh

Pieper Roeder as Little Girl

Dominic Torres as Little Boy

Jon Flower as Younger Brother

Nelson Lampe as Grandfather

Megan Kelly as Evelyn Nesbit

Jordan Smith as Booker T Washington

Zhomontee Watson as Sarah’s Friend

Mark Haufle as J.P. Morgan

Brandon Fisher as Henry Ford

Kevin Olsen as Harry Thaw

Jay Srygley as Stanford White

Bob Gilmore as Admiral Peary

Brendan Brown as Hensen

Bowen Peterson as Harry Houdini

Joey Hartshorn as Emma Goldman

Justin Dehmer as Willie Conklin

Amanda Srygley as Brigit

Julia Ervin as Kathleen

Taylor Plank as Chorine

Lauren Taylor Anderson, Janet Goodman, and Elizabeth Planck as Sob Sisters

Ensemble features Sheldon Ledbetter, Ejanae Hume, Erin Florea, Olivia Howard, Olivia Bryant, Serena Johnson, Cody Girouex, Lynn Ramert, Alex Nilius, Danny Denenberg

 

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A Love Cursed

Out of tragedy is born love.  And out of that love arises another tragedy. . .and a bit of hope.  Come discover the story of the Tin Woodsman of Oz before he became the Tin Woodsman in the Strangemen Theatre Company’s production of The Woodsman by James Ortiz with music by Edward W. Hardy and lyrics by Claire Karpen.  It is currently playing at the Blue Barn Theatre.

The hardest thing about writing an article is coming up with a good conclusion.  This time, it’s a piece of cake.  Go see this show.

OK, now let’s get to that analytical stuff.

I knew I was going to see something different when I saw this show, but what I didn’t know was just how good it was going to be.  Ortiz has written a sensational tale about the pre-metal life of the Tin Woodsman.  It’s sweet.  It’s moving.  It’s even a little spooky at times and you’ll likely shed a tear or two before it’s all through.  For the purists, the transformation to the Tin Woodsman is very faithful to L Frank Baum’s description from the original Oz novels.  For those thinking of bringing kids, it means it’s a little grim, but not overly violent.

Ortiz draws from a wide variety of performance styles such as straight dialogue, pantomime, puppetry, and musical.  Outside of a prologue, a song, and a rare word here and there, this show is done with no dialogue and I think that’s where its real power lies.  The actors have to tell a highly nuanced tale with naught but facial expressions, body language, and little expostulations of sound.  The result is a production that ranks as one of my favorite shows of the season.

James Ortiz and Claire Karpen co-direct this singular tale and their control and execution of the story is like watching a master painter create a masterpiece from scratch.  Finding beats in dialogue is tricky enough, but finding beats without the spoken word is another beast all together and the two directors expertly strike each and every one without effort.  Under their coaching, the performers “tell” this story with crystal clear expressions and body language that let me “read” this story just as easily as I read novels.  Their direction combined with movement direction from William Gallacher creates a story that really invokes all of your senses.  You can almost smell the campfire, hear the pounding of a panicked heart, and feel the texture of a warm hand on a body that no longer has sensation.

The ensemble is a critical part of this production as they literally become the world.  They are the trees of the forest.  Their whistles are the songs of birds.  Their snaps are the pop of a fire.  Their slaps are the blows of an ax.  They also play a variety of supporting parts and I was especially impressed by the work of Barry Carman and Stephanie Jacobson as Pa and Ma Chopper as they tell an excellent story about their courtship and their life together complete with posture changes to signify their aging.  I was also floored by the work of Michael Burns, Caulene Hudson, and Be Louis with their puppetry of the Wicked Witch of the East.  Their skilled manipulations made the Witch seem like an otherworldly force of nature and a truly vile villain.

The beauty of Anna Jordan’s performance as Nimmee made me want to weep.  She has an absolutely phenomenal physicality that makes for great pantomime.  You can feel and see the fear in her tense body whenever the Witch is around.  Her selling of the routine physical abuse dealt to her by the Witch is spot on.  The slow opening of her heart to Nick Chopper is wondrous to behold.  And a bit where she and Nick try to subtly cozy up to each other by a fire is sweet and funny.

Matthew Olsen’s portrayal of Nick Chopper (the flesh and blood version of the Tin Woodsman) is equally powerful.  His love for his family is palpable and it was a joy watching his childish antics as he grew up especially as he learns to fight from his father and properly wield an ax.  His courage is inspiring as he battles a forest monster to protect Nimmee.  And his anguish is haunting as he slowly loses his human nature.

Never before have I seen a show where light was so crucial to its telling and Jamie Roderick’s work is of superior quality.  His lighting is so atmospheric as he takes you to the depths of a pitch black forest with just a wisp of sunlight peeking through to the magical charges of Nick Chopper’s amulet to the dankness of the Witch’s lair.  Jenny Pool’s costumes had a nice old fashioned flair of a long forgotten time.  The set was pretty much bare bones though I thought the tree branches hanging about the theatre and the old fashioned lights set above the stage (and a bit out into the seating area) was a very nice touch.  And the violin score provided by Samantha Perkins was heavenly especially with the haunting song of the Tin Woodsman at the end.

This is storytelling at its finest.  It’s an achingly beautiful and well told love story guaranteed to melt the coldest of hearts.  At the risk of repeating myself, go see this show.

The Woodsman plays at the Blue Barn Theatre through June 16.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 6pm.  On June 9, there will be an additional 2pm matinee and Jun 16 will have only a 2pm matinee.  Tickets are $35 ($30 for seniors) and can be obtained at www.bluebarn.org or by calling at 402-345-1576.  The Blue Barn Theatre is located at 1106 S 10th St in Omaha, NE.

Bitter Fruit

A mother and her genius, but ill-mannered, son relocate to Crested Butte, CO to begin a new life.  Running parallel paths, the mother begins to find happiness once again while the son takes a step towards living life for the very first time.  But an insatiable need to know may tear both of their lives asunder.  This is Wildflower by Lila Rose Kaplan and is currently playing at the University of Nebraska-Omaha.

While Ms Kaplan’s script is interesting in some respects, it suffers from the flaw of not being a strong narrative.  By that I mean there really isn’t an arc to this play.  It’s really vignettes of the lives of the characters of this show.

Where the writing excels is in the characters themselves.  Not only are the characters fully formed people, but they have distinctive and well developed arcs with plenty of meat in which actors can sink their teeth.  The powerful characters help to cover the fact that the overall story lacks a unifying core.

Lara Marsh is a bit of auteur with this production as she not only directs, but also designed the set and helped to design the sounds.  Her direction is tight and sure.  Each character gets its fair due and chance to shine and Ms Marsh knows how to maximize each climax and resolution in the interrelationships of these characters.  Her staging is admirable with the entire blackbox being utilized and her mastery in crafting emotional moments cannot be argued.  She also gets thoroughly capable performances out of her cast.

Solid supporting performances are supplied by Francisco Franco and Jarod Cernousek.  As Mitchell, Franco plays a former burlesque performer turned hotel owner/chef who dispenses wise advice and has found peace in his life in the most extraordinary way.  Cernousek’s James is a forest ranger with a power complex and the rod up his back has a rod up its back which I’m pretty certain has a rod up its back.

Aaron Sorilla is exceptional in his performance as Randolph.  Randolph is a high functioning autistic and Sorilla does truly wonderful work in communicating the aspects of autism such as his focus on self, rudeness, fixations, and a bit of a sing-song cadence to his speaking patterns.  His timing is excellent and he knows how to elicit a good laugh from a line.  But he also handles the drama side of the role equally well.  There is a real tragedy to his character as he is unable to understand emotion and his literal nature means everything needs to be spelled out to him in excruciating detail.  And that need to know leads him down a treacherous path.

Jocelyn Reed plays Erica, Randolph’s mother.  Ms Reed does a good job of encasing Erica’s core of sadness in a bubbly personality.  The bubblyness is not a put on.  It’s more like if Erica focuses on being happy, then she’ll forget the sadness which is always threatening to rear its ugly face.  This is a person who has had a rough go of things.  It’s implied she was in an emotionally abusive marriage from which she is trying to recover and while she loves her son, Ms Reed’s body language conveys the sense that she sometimes feels chained to him due to his special needs.  Indeed, as a loving mother, she makes sacrifices to her own happiness for the sake of her son.  But her shining moment is when we get to see her exude utter joy when her son forms a special friendship with a girl.  Not only is she happy for him, but she is happy for herself as she sees the possibilities that each of them can live their own life.

Hannah Davis makes her acting debut as Astor and does quite well in her first outing.  There’s a lot of fun to this character.  One is never certain if she is also a high functioning autistic or just very immature due to a combination of an odd upbringing and her own exceptional intelligence.  She comes off as much younger than 16 especially when she’s bossing Erica around in the visitor’s center and engaging in childish arguments with Randolph.  Yet she has startling moments of pseudo-sophistication and clearly has the longings of a young girl coming of age due to her wanting intimacy so she isn’t inexperienced when she shortly heads off to college.  While Ms Davis’ character foundation is rock solid, I think she has the leeway to amp up what’s she’s doing a notch or two.

Lara Marsh has provided a simple, but effective set for the production with a counter full of brochures, seeds, and flowers for the visitor’s center and a rolling counter for Mitchell’s kitchen.  Kendra Newby’s costumes well suit the personalities of the characters from the perfectly pressed forest ranger’s uniform of James to the too big sports coat (it’s his father’s) of Randolph to the childlike clothing of Astor as well as her beautiful sundress as she comes of age.  Riley Campbell and Craig & Lara Marsh team up for some fantastic sounds such as the hotline’s ringing telephone and the blast of fireworks.  Rebecca Roth’s lights are top of the line especially with the stars of the outdoors and the flash and colors of exploding fireworks.

In spite of a missing centrality to the story, this show is a strong showcase in character work aided by surefire direction.  It’ll make you laugh.  It’ll make you wonder.  It’ll even tug at your heartstrings a little.

Wildflower plays in the Weber Fine Arts Building in Room 006 at the University of Nebraska-Omaha through April 28.  Showtimes are Thurs-Sat at 8pm and Sunday at 2pm.  Tickets are free.  Due to adult subject matter and language, this show is recommended for mature audiences.  The University of Nebraska-Omaha is located at 6001 Dodge St in Omaha, NE.

Nebraska Theatre Caravan Adult Auditions for 2019 Tour of ‘A Christmas Carol’

The Nebraska Theatre Caravan will hold auditions for adults (ages 17 and older) for the anticipated national touring production of A Christmas Carol.  Auditions will be held Saturday, April 6 at 11am at the Omaha Community Playhouse located at 6915 Cass Street in Omaha, NE.  Please enter through the stage door on the west side of the building.

The audition will include singing and reading from the script followed by movement.  Applicants should bring a resume and headshot, a 16 bar cutting of a prepared song with sheet music, and be prepared to read from the script.  Applicants should also be prepared to move.  An accompanist will be provided.

Estimated contact dates for A Christmas Carol are early November through late December 2019.

These are touring productions and performances will be conducted across the United States.  Rehearsals will be held 9am-6pm in Omaha.  All actors must be available to attend al rehearsals during stated times as well as all performances.

For additional audition or production information, contact Company Manager Kate Whitecotton at kwhitecotton@omahaplayhouse.com.

OCP Announces Auditions for ‘Sweat’ and Musical Auditions for 95th Season

Auditions for Sweat by Lynn Nottage
Thursday, May 2nd at 7:00 p.m.
Saturday, May 4th at 1:00 p.m

Those auditioning should enter through the west “Stage Door” entrance and proceed to the check-in table downstairs.

Show Dates: August 16 – September 15, 2019 in the Howard Drew Theatre

Director: Susie Baer Collins

Rehearsals: Begin approximately mid June 2019

Description: Winner of the 2017 Pulitzer Prize, SWEAT is a head-first dive into working class America. A three-time Tony Award® nominee, SWEAT follows a group of steelworkers whose steady march toward the American dream is uprooted by economic change. As their sense of security slowly unravels, jobs and relationships are left in the wake. Punctuated with lively humor, SWEAT goes to the heart of what it means to be human—both good and bad—when fear and uncertainty take hold. Disclaimer: Contains adult language and violence.

Roles:

Evan, African-American, forties

Jason, white American of German descent, twenty-one / twenty-nine
Chris, African-American, twenty-one / twenty-nine
Stan, white American of German descent, fifties
Oscar, Colombian-American, twenty-two / thirty
Tracey, white American of German descent, forty-five / fifty-three
Cynthia, African-American, forty-five / fifty-three
Jessie, Italian-American, forties
Brucie, African-American, forties

Notes:

Those auditioning will be asked to read from the script provided at auditions

What to Bring:

All contact information, personal schedules and a list of rehearsal conflicts with which to fill out an audition form.

To expedite the check-in process – please bring a recent photo if you have one available. Please note, photos will not be returned.
2019/2020 Season Musical Auditions
Adult (16 or older) auditions:
Saturday, June 15th at 11 a.m.
Sunday, June 16th at 6 p.m.
Youth (under 16) auditions:
Saturday, June 22nd at 11 a.m.
Actors interested in Annie, The Rocky Horror Show, A Christmas Carol, Once, Bright Star and The Color Purple should plan to attend. Actors should enter through the main lobby on the south or east side of the facility.

Once will include actors playing instruments. If you are interested in this specific musical and have an instrument, please bring the instrument with you and be prepared to play 16 bars of music of your choice. You may also accompany your own singing audition if you prefer.

Actors please be prepared with the following:

  • Sheet music with 16 bars ready to sing (an accompanist will be provided)
  • ONCE the musical will include actors playing instruments. If you are interested in this specific musical and have an instrument, please bring the instrument with you and be prepared to play 16 bars of music of your choice. You may also accompany your own singing audition if you prefer.
  • There will be a dance audition, so actors should be dressed to move (no boots, sandals, flip-flops, etc.)
  • You will be asked to fill out an audition form, please have all necessary contact information and schedules available to complete the form.
  • A recent photo to attach to your audition form. Please note, the photos do not need to be professional and will not be returned.
*Audition dates are subject to change
Location:  Omaha Community Playhouse (6915 Cass St, Omaha, NE)

Ashes to Ashes

Sholem Asch is a young, hungry Jewish playwright who wishes to write stories about his people that show they are just as flawed and human as anyone else.  Members of his own community refuse to let him produce his play, The God of Vengeance, in Yiddish theatre as they perceive his work as anti-Semitic, so he takes the show on the road.  After a long, successful run in Europe, he manages to bring his show to Broadway.  Then trouble really begins for his show.  This is Indecent by Paula Vogel and is currently playing at the Blue Barn Theatre.

Assuredly, this is one of the most difficult and challenging shows I’ve seen produced in quite a while.  Ms Vogel’s script borrows from quite a few genres:  drama, musical, comedy, Yiddish, play in a play, and wraps it in a sheen of surrealism that gives the production an almost dreamlike quality.  This quality is well suited to this show as it is a show of memories of what once happened.  Going along with the motif of memory, which is a tricky thing, after all, some of the events depicted are fiction or embellished.

Ms Vogel’s script well handles the difficulties Asch faced with his script.  Some of the subject matter and themes in The God of Vengeance such as blasphemy, prostitution, and homosexuality are still taboo by today’s standards, let alone in the early 1900s when they would have been viewed as downright abhorrent by society, especially American society.  Even worse was the fact that many missed the point Asch was attempting to make due to only seeing the surface of his work and not digging a little deeper.

Truthfully, this show would test the mettle of any director, but Susan Clement-Toberer rises to the challenge and manages to merge all of this play’s disparate elements into a rock solid production.  Not only has she led her troupe to stellar, nuanced performances, but she was quite creative with her staging and transitions.  From having her actors sitting on stage before the show, still as statues until the lights breathe life into them, to original transitions using song, dance, and music, this show is a master’s level class in direction and storytelling.

Ezra Colon sizzles in his Blue Barn debut as Sholem Asch.  He well essays the young Asch as a youthful, energetic artist bound and determined to tell stories about his people.  One of my favorite moments was the respectful defiance he showed to his leaders and peers at the play’s first reading as he knows what he is saying with his play and is confident that he can find ears receptive to its message, even if those ears are others than his own community.

Colon is equally as impressive as a middle aged Asch and he somehow seems to age decades in a matter of moments with a slump of his shoulders and a haggard, wearied expression on his face.  His whole being seems to wonder if his work is a noble fight or a curse as trouble mounts for the Broadway production.  He finds himself unable to properly defend the work or his troupe due to his limited command of English and things he has witnessed as part of a delegation which have broken him in half spiritually.

Jonathan Purcell provides a powerhouse performance as Lemml.  He works wonders as the shy tailor whose eyes are opened by Asch’s work which he considers a life changing masterpiece from the very beginning.  Watching him tentatively begin a new career as stage manager for The God of Vengeance to growing into a confident, new person who takes full command of the show to keep it alive is a complete and utter joy.

Suzanne Withem is marvelous in multiple roles.  With a pair of glasses and shawl, she is Asch’s supportive, loving wife, Madje, and the first fan of his bold script.  With a change of clothes and a slightly vacuous expression, she becomes Virginia McFadden, an inexperienced performer who has taken the role solely to shock her parents on multiple levels.  But her best role is that of Ruth/Reina, the Yiddish actress who originally portrays Rifkele in the American production of The God of Vengeance.  She is proud of her Yiddish identity and has much in common with her character, right down to knowing the love of another woman.  Her scenes with her lover, Dorothee Nelson/Dine, are some of the best in the show as they are charged with a raw power and honesty and I consider “The Rain Scene” one of the best moments I’ve ever seen mounted on a stage.

Leanne Hill Carlson also lights it up in multiple roles.  But her two best are Freida Neimann, a slightly egotistical and prejudiced actress who finds her characters through intuition as opposed to reading the script and Dorothee Nelson/Dine, the American Manke for The God of Vengeance.  Her chemistry with Ms Withem just ripples with life and she well plays the age old agony of love vs career as the chance to be a Broadway star nearly causes her to sever her relationship with Ruth/Reina as well as subsume her ethnic identity to be more palatable to American audiences.

Strong supporting performances are supplied by D. Scott Glasser, especially as Nakhmen, a Jewish scholar who opposes Asch’s script; Judy Radcliff, as her portrayal of Esther Stockton playing the role of Sarah in The God of Vegeance provides some wonderful levity; and Jonathan Wilhoft who shines as I.L. Peretz, a Polish writer who gently advises Asch to burn his script.  Samuel Bertino, Kate Williams, and Olga Smola also do fine work as a trio of musicians who provide the score of the production.

Steven Williams provides a beautiful, broken down stage with its cracked and crumbling walls and raised platform.  His lights are equally good and quite ethereal at points, especially with the ghostly blue of “The Rain Scene”.  Georgiann Regan’s costumes are spot on.  Fine examples of her work are the quiet elegance of Asch’s suits, the well-made, but lower quality garb for Lemml, and the deadly accurate Hasidic dresses for the women.  Bill Kirby sounds are inspired and his use of artillery effects towards the end had me jump out of my seat.  Melanie Walters provides some unique choreography for scene transitions.

Indecent is the epitome of the Blue Barn mission and makes for an interesting case study into The God of Vengeance. Was it the work that was corrupting or was it corrupted by others once it hit American shores?  What was the play’s truth and did it get lost in the presentation?  Was it a curse or a blessing?  You may ask yourselves these and other questions as you watch the production.  You may not come up with a definitive answer, but you’ll certainly have a lot of food for thought.

Indecent plays at the Blue Barn through April 14.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm with the exception of a 6pm performance on April 7.  The shows for March 23, 30, and April 6 are sold out.  Tickets are $35 ($30 for seniors) and are available at www.bluebarn.org or at the box office at 402-345-1576.  Due to mature subject matter, this show is not suitable for children.  The Blue Barn is located at 1106 S 10th St in Omaha, NE.

A Bridge Between Them

Francesca Johnson, an Iowa housewife originally from Italy, looks forward to a few days to herself when her family heads off to the 4H Nationals at the Indiana State Fair.  When her family leaves, a well-traveled National Geographic photographer, Robert Kincaid, arrives to ask for directions to the Roseman Bridge to complete his photo assignment.  Robert has recently visited Italy which sparks a fast friendship between himself and Francesca which evolves into something more and forces the two to make some life altering choices.  This is The Bridges of Madison County by Marsha Norman with music and lyrics by Jason Robert Brown and based on Robert James Waller’s novel.  It is currently playing at the Omaha Community Playhouse.

I was quite surprised by this show.  I had been expecting a schmaltzy love story, but what I got was a well framed tale that built slowly, organically, and subtly.  This story is about much, much more than a man and a woman falling in love.  It’s about the circumstances that brought them together, the forces that drive them, and the hard choices they have to make about their respective futures.  I especially liked how natural the affair comes about.  There’s nothing forced about it.  It was just something that happened which leaves it up to the viewer to decide on the morality of what goes down.  The show is aided by Brown’s score, especially as interpreted by Jim Boggess and his splendid orchestra.  The songs are almost internal monologues and span a series of emotions that I have never seen before in a musical.

A story that builds as methodically as this one requires a very gentle touch with the direction and Kimberly Faith Hickman provides that touch and then some.  Ms Hickman strikes each emotional beat dead on the mark.  It’s never too much or too little.  The pacing is phenomenal and keeps the attention of the audience with every gradual revelation of the plot.  She also has a killer set of performers to tell this story, especially in her 4 leads.

That previous sentence may have made you take pause, but there are 4 leads for this production.  Kimberly Faith Hickman made the decision to double cast the two leads and each pairing takes one down a very interesting variant of the story.  In order to give readers a complete vision of this play, I watched the show twice so I could see how each set of leads interpreted the tale.

Mackenzie Dehmer is deadly accurate with her character choices in the role of Francesca.  She seems. . .not happy, but settled in her role as a farm wife.  She loves her children.  She loves her friends.  She even loves her husband, but it isn’t the same love that she once shared with him.  Her body language indicates that there is a void in her life that she doesn’t know how to fill.

Then Robert comes into her life.

Suddenly Ms Dehmer just lights up with passion and life as she now has someone with whom she can truly relate.  As their friendship grows, Ms Dehmer really makes you see the happiness blooming in her soul, yet it is still tinged with a thorn as she is always constantly aware of the potential effect on her family.  Her anguish as she wrestles with the decision to be with Robert or her family is heartbreakingly real and well essayed.

I think Ms Dehmer would have a fine career in opera with her devastating vocal range.  A natural alto who effortlessly hits soprano notes, Ms Dehmer shone musically as she wonders about Robert in “What Do You Call a Man Like That?”, consummates her relationship with him in “Falling Into You”, and sings about her haunting final decision in “Before and After You/One Second and a Million Miles”.

Angela Jenson-Frey gives us a Francesca who is actually quite happy with her life.  Yes, she misses her native country, but is comfortable with her life in Iowa and is mostly satisfied with her choices in life.  When Robert appears in her life, there isn’t that immediate spark of attraction.  It is a friendship that quickly transforms into a passionate love.  Ms Jenson-Frey’s Francesca also seems a bit more assured in her decisions as her final choice seems to come a bit more easily and confidently.

Ms Jenson-Frey also has a beautiful soprano singing voice which she uses to full emotional potential in her numbers whether she’s gladly telling the audience part of her life story in “To Build a Home”, tenderly asking Robert to simply “Look At Me”, or sharing the rest of her life story with Robert in “Almost Real”.

I was crushed by James Verderamo’s take on Robert.  He projects a palpable aura of loneliness.  His Robert is a man who lives apart from the rest of the world.  He’s never in one place very long and has made the decision not to get involved with people because he always has to get to the next assignment.  His chemistry with Mackenzie Dehmer is pitch perfect as each truly seems to fill a missing part of the other.  When he falls for Francesca, you really feel the wonder of a man who is experiencing happiness for, perhaps, the first time in his life.

Verderamo’s tenor is velvet smooth and allowed him to emote his songs to the fullest.  Whether he is “Wondering” about Francesca or describing the life of a photographer in “The World Inside a Frame” or musing about his own mortality in “It All Fades Away”, Verderamo never failed to let the audience see his true thoughts and emotions.

Thomas Gjere’s Robert is far more content in his life.  While he is a bit of a wanderer, he is comfortable with the life he has chosen though he believes he isn’t the greatest company in the world.  What I liked best about this take is that Gjere’s Robert is quite likable and charming, but seems completely unaware of that fact due to his always focusing on the next assignment.  When he falls for Francesca, it seems to truly awaken himself to himself for the first time.

Gjere has a mellow low tenor that you could listen to for hours.  His phrasing is always perfectly precise and he makes you feel his budding happiness in “Temporarily Lost” and the full joy of his personal awakening in “Who We Are and Who We Want to Be”.

While this is primarily a two person show, a supporting cast does periodically appear to show what is going on outside Francesca & Robert’s world and sometimes get involved in it.  Kevin Olsen and Joey Hartshorn provide some levity as an older married couple who are neighbors of the Johnsons.  Ms Hartshorn is especially amusing as the busybody with a heart of gold and has a hilarious solo in “Get Closer”.  Mary Trecek belts out a great hoedown in “State Road 21/The Real World” and Analisa Peyton has a moving solo as Robert’s ex-wife in“Another Life” where she explains why she left him.

Jim Othuse crafts a realistic small town with the farmhouse of the Johnsons and a spot on replica of the Roseman Bridge.  I also liked how he created bars and other homes through the use of windows and bar counters.  Aja Jackson’s lights brilliantly support the story with sunrises, sunsets, and proper mood lighting during the show’s weightier and emotional moments.  Megan Kuehler’s costumes well suit a small town farming community with simple dresses for the adult women and t shirts and jeans for the men and kids.

As I said in the beginning, this is far more than a love story.  This is a story about two people who were missing something vital and found that missing piece in the other.  It is not about their love.  It is about what they will do with that love and it makes for a profound tale indeed.

The Bridges of Madison County continues through March 24.  Tickets start at $24 and vary by performance and seating zone.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.  Tickets can be obtained at the OCP box office, online at www.omahaplayhouse.com, or calling the OCP box office at 402-553-0800.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.