Music in the Mountains

The Porch on Windy Hill

The Covid-19 pandemic forced the world to stay cooped up at home for over a year. When people did go out they were advised to wear face masks to help protect them from the contagious, air-borne disease. But like so many others, Mira and Beckett, have been cooped up in their tiny New York apartment for so long, that they burst out and embark on a road trip. But this twosome are unique. Both are brilliantly talented musicians and highly educated. Mira is a classically trained violinist and Becket, who’s a more-than-capable musician on any stringed instrument, is working on his dissertation. He’s exploring the concept that folk music is adapting and changing along with the population. And, since they’re also activists for social change, the couple’s always looking for a cause to support.

After hitting the road and living in their van for several weeks, Mira and Beckett make a big discovery. While attending a musical folk festival in rural North Carolina, as part of the young man’s research, Mira is unexpectedly reunited with her grandfather, Edgar. It turns out he’s also a talented musician and he invites the young couple to join him at his cabin on Windy Hill, Mira’s childhood home for many years. Upon entering the porch, it’s clear that the reunion is uncomfortable for both the young woman and the older man.

Years ago Ruth, Edgar’s grown daughter, met Douglas, a Korean-American who was attending a North Carolina university. Much to the disapproval of her narrow-minded family and friends, Ruth and Douglas married and had a child, named for Edgar’s wife, Almira. When Mira’ young cousin called her an offensive name one day, that was a racial slur, neither her grandfather nor anyone else reprimanded the child. So Ruth and Douglas decided it was time to move away. Prejudice was especially rampant in the deep south and Ruth decided to sever all ties with her bigoted North Carolina family.

Now, for Mira, the discomfort of facing her beloved grandfather again after so many years, is tempered by Beckett’s passion for learning firsthand about the roots of folk music from someone who was actually a part of it. Through the universal language of music, memories are evoked, differences are addressed and a reconciliation finally begins. Mira confronts Edgar for not speaking up for her when she was a little girl. Mira’s humiliation has festered for so long that it’s painful to heal this emotional wound.

But the edge is softened in this dramatic play by so much lovely, gentle, toe-tapping bluegrass music. The three actors who comprise the cast of this play, also share credit as playwrights with writer Sherry Lutken. All three performers have extensive theatre credits, as well. Lisa Helmi Johanson, as Mira, is so moving in this role. She also plays a wicked, classical violin, as well as a rousing bluegrass fiddle. In addition, Ms. Johanson is a master of a Japanese stringed instrument, called a Kokyu. And, like her fellow actors, is also an accomplished vocalist. Edgar, played with folksy gentility by David M. Lutken, is an excellent musician, as well as a talented actor/singer. He plays the guitar, the banjo and the dulcimer with effortless ease. And Morgan Morse, as a passionately enthusiastic Beckett, is an appealing actor as well as a gifted instrumentalist. He dazzles on guitar, mandolin, banjo and other instruments. 

The cast play, sing and sometimes dance to a variety of folk tunes. They include “Down in the Valley,” “Blackberry Blossom,” “The Little Log Cabin in the Lane,” and an exceptionally meaningful tune for Edgar, “Over the Waterfall.” As the music flows, the tensions melt away until a final confrontation between the three characters. But, after Mira and Beckett spend the night in a real bed, at Edgar’s invitation, walls tumble and communication laced with love and respect re-emerge.

The show is skillfully directed by Sherry Lutken and flows genially and sweetly from scene to scene and song to song. The dramatic arc is gentle and natural as Mira and her grandfather eventually tear down emotional walls and come together. The production is set upon a gorgeous, minutely-detailed Scenic Design by Mara Zinky. Lit by Lindsey Lyddan, day becomes night and the morning begins with a fresh, new feeling. This is a lovely, almost spiritual story about how the pain of racism can sting for years, and the way communication is so important for creating understanding and restoring love.            

Recommended

Reviewed by Colin Douglas

Presented April 13-May 14 by Northlight Theatre, at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL.

Tickets are available in person at the theatre box office, by calling 847-673-6300, or by going to www.northlight.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com