“I left the theatre feeling in touch with my own deep rage and sorrow at the way women are treated in this patriarchal world. The strong cast helps. Mary Eliza Willingham is a commanding Medea, her every acting choice powerful and compelling. Amber Dow has both flawless comedic timing and intense emotional moments as the Nurse. Marley Doakes effectively embodies the fiery spirit of the young Neighbor. And Riley Lucas captures every bit of nuance in both Jason’s heel turn and the Messenger’s parallels to his boss. The design does much with little: scenic designer Rose Johnson crafts a simple environment usable for a variety of settings, and costume designer Jana Lynn Casey creates a similar effect with just a handful of colors.”

Read the full review

“If you’ve been feeling bruised of late, whatever your reasons may be, Ms. Monte’s “Rainmaker,” with its shining message of hope in the face of prolonged trial, is just the medicine you need. I’ll be surprised if I ever see it done better.”

Read the full review

“The Artistic Team has done a wonderful job of creating the setting for The Rainmaker. They include sound design by Steven L. Beckel; costume design by Hugh Hanson; lighting design by Matthew J. Weisgable; and scenic design by Bonnie J. Monte. The Production Stage Manager is Becky Abramowitz; Fight Consultant, Doug West; Assistant to the Director, Elliott Puckette; Fight Captain, Corey Sorenson; Assistants to the Stage Manager, Erin Collins and Devyn Tibbles.

The Rainmaker has a captivating, charming plot and characters with authentic personalities. It is part of the Theatre’s 57th season entitled “Incredible Journeys.” Bonnie J. Monte and her team have indeed selected a show for your summer entertainment that you will deem incredible.”

Read the full review

“It’s a credit to director David Pausch, the cast, and the delicately wrought script that each of the three characters is so complicated — all have made mistakes, and none are painted as villains. The current production is also assisted by the realistic kitchen of a country farmhouse awash in the golds of twilight (set by Teresa Sarkela, lighting by Steven Peterson) and the original music composed for the show by Erin McConnell and Evan Lange. The jaunty Celtic airs set the scene and the mood, altering as the play progresses, to reinforce the swirling discord beneath a placid veneer.”

Read the full review

“Valentine’s Day Dance,” a teen vignette that finds Elliott Puckette’s teenager unexpectedly re-encountering a girl she had a makeout session with five years earlier, is a strong start … the sharp and snappy dialogue in Molly Horan’s script is terrific and funny. Puckette and the other cast members here (Emily Swanson, Drew Lehmann and James VanAbel) are convincing mixes of awkward vulnerability and cool remove.

Interspersed throughout the skits are open mic breaks [directed by Elliott Puckette] featuring Shannon Harper reading poetry (and performing a brief but powerful dialogue involving sock puppets). These were both entertaining and a nice way to moderate the show’s flow.

Read the full review

“From the horrible acting (acting this bad takes talent) of intern Betty G (Elliott Puckette) to the random wonderings of Paul (Nick Kaprelian) the security guard in a secret relationship with Chic (Alyssa Stowe) the laughs keep on coming.”

Read the full review