Almost, Maine took the stage for Student/Press Night on Thursday, February 6th, 2025. Local critic Ben Sharp penned a review just in time for Opening Night:

The Plaza Theatre’s production of Almost, Maine is, quite simply, almost perfect.

Set to run from Feb. 7 through Feb. 16, with shows at 7:30 p.m. Fridays and Saturdays and 2:30 p.m. on Sundays, the show is a moving blend of comedy and poignancy. Written by John Cariani with original music by Julian Fleisher, the play is presented in memory of Jeanene Merka, who left her mark on the Wharton County community as an avid patron of the arts and a philanthropist.

The show is directed by Reagan Wrench and Janice McDonald. Both are household names in community theatre, having a hand in dozens of productions over several decades. In Almost, Maine, Wrench and McDonald are at their creative best, expertly sandwiching a touching love story in between layers of wit, sarcasm and tongue-in-cheek comedy.

Set in the fictional town of Almost, Maine, the story follows the escapades of several couples as they navigate the difficulties of life and love. Each depiction is unique and subtle, with some scenes leaving the audience to question the precise nature of what was portrayed. This is by no means a negative aspect of the show. By providing only bite-sized pieces, the production leaves the audience craving a more complete portion in order to understand these complex relationships. Repeat viewings of Almost, Maine are a necessity to fully unpack these nuances.

The cast is comprised of eight actors. Some have graced the Plaza stage several times previously, while others are newcomers. Lisette Vargas, for instance, makes her stage acting debut in Almost Maine, tackling the roles of Ginette and Sandrine. A Wharton County Junior College student with aspirations of becoming a professional costume designer, Vargas is absolutely delightful. Her line delivery and facial expressions are right on point, while her interplay with her fellow actors is as natural as that of a veteran actress who has dozens of shows under her belt. I will be interested to see how this budding star’s career develops over the coming years.

Hamza Mir plays opposite Vargas in several scenes and is a virtual dynamo on the stage. Combining great energy with pathos, Mir provides the audience with a complex, fascinating persona that invites viewers into the depths of introspection. I could almost feel his thoughts and experience his emotions, a shiver passing up my back as I, too, felt as if I were wandering beneath the star-studded sky of a frigid Maine landscape, pondering my place and relevance in the universe.

Speaking of the stars, the set design and special effects combine perfectly to create a convincing illusion of a cold, snowy countryside. Clever use of projectors transforms the theater into an awe-inspiring skyline, complete with a rendition of the Northern Lights. The effect enables the audience to see beyond the theater’s walls and ceiling and connect more deeply with the story.

The play is divided into vignettes, all set against a tree-lined, wintry landscape. Ingenious design allows for small set pieces that can be changed out quickly and with little interruption to the presentation. Lighting and sound are the ideal complement to the set, completing the illusion, though there were a few scenes where the spotlights seemed to be angled incorrectly, leaving an actor’s face obscured by shadow.

The acting, overall, is stellar. Cast members are tasked with presented several different roles, and they do a great job in this regard. I found it easy to distinguish between the different couples and never felt confused. Some of that must be credited to the intricate costume changes (overseen by Lisette Vargas and Janice McDonald), while the performers certainly deserve a huge pat on the back for being able to present so many different personalities.

Jenna Crowell (playing Marvalyn, Shelly and Hope) is delightful, with clear projection, a mature stage presence and good rapport with her male counterparts. Ryan Martin (playing Steve and Phil) shares the stage with Crowell in several scenes and is absolutely convincing in his portrayal of a sheltered, emotionally-damaged young man and a tired, jaded husband. His frustrated outbursts in Act II with Cassidy McDonald (playing Waitress, Gayle and Marci) are gut-wrenching, and as he sits alone on a park bench — the off-stage sound of a car engine firing up as his wife prepares to leave him — stayed with me long after the curtain call.

McDonald, meanwhile, takes a lion’s share of roles, from a roller skating waitress to Martin’s unhappy wife. She handles each with ease, moving seamlessly between the characters. Seth Thayne is equally well-adept, handling the roles of Jimmy, Chad and Dave. His voice projection at times is off the charts, echoing around the theater. I greatly anticipated his scenes, braced for his unbridled energy and emotional presentation.

Like the backdrop itself, the entire cast is comprised of shining stars, making it impossible to single out any one performer for stealing the show. That being said, I felt a special connection with the performances of Al Folmar and Danté Hancock. Both impacted me deeply, though in different ways. Folmar’s clear projection and smooth delivery — combined with an undeniable on-stage charisma — captured my attention each and every time, and the interplay with Hancock is one of the most natural of the show. Hancock, meanwhile, has an irresistible charm that captivates the audience, coupled with the ability to provoke the deepest of emotional responses. There’s something profound and melancholic in Hancock’s acting, even in the more humorous moments, and it creates a unique authenticity that resonates with the audience.

All in all, Almost, Maine is one show that simply must not be missed.

Production credits include Quinn Wrench as stage manager; Burke and Sarah Wilkins on set construction; Reagan Wrench on set design and artistic design; Kenneth Socha on lights; Leanna Shimek on sound design, projections, and sound board; Roxy Gilley as sound board operator; Al Folmar on props and makeup; Janice McDonald on hair; Jami Hughes on box office/house management; Quinn Wrench on concessions management; Russell Kacer on communications and Sharon Joines on photography.

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ABOUT BEN SHARP: Benjamin Sharp is the Director of Marketing, Communications, and Advancement for Wharton County Junior College. He holds a bachelor’s degree from the University of Houston and lives in Wharton with his wife, Kristen, and their three kids, Madalyn, Andrew and Matthew.