The weather forecast was for storms, possibly a tornado. The actress scheduled to play the lead role wasn’t going to perform. Cars stood at odd angels blocking spaces in the parking lot. But, in reality, none of this mattered. Opening night for Quilters, the first show after a year of theatrical darkness, went off like a charm.
Quilters is a series of short playlets, with music. It has a book by Molly Newman and Barbara Damashek, and music and lyrics by Damashek.
The stories center on the lives of American Pioneer women as originally presented in the book The Quilters: Women and Domestic Art by Patricia Cooper and Norma Bradley Allen.
Though it won the Fringe First Award at the Edinburgh Festival, when it opened on Broadway in 1984, it ran a meager 24 performances and 5 previews.
The issue on the Great White way was that the material lends itself to an intimate production and an older audience. That’s not what Broadway is about. It is, however, just what Porthouse, with its small thrust stage in the Midwest setting, engenders.
The rather static mélange of skits, monologues and songs, unified by a theme rather than a sustained plot or characters, fits the pallet of the local audience. Who are willing to fall in love with what many might call “hokey.”
The script showcases reminders of a world of the past, straightforward comments about childbirth, honesty, school days, courtship, weddings, spinsterhood, twisters, fire, illness, death, religion, log cabins, and Midwest loyalties.
What the Porthouse production also has is Terri Kent. Kent, the venue’s Producing Artistic Director, stepped in at the last minute to play the central cog of the tale when Marla Berg became ill and had to drop out of the show. With no aside meant to the very talented Berg, Kent was born to play the role of Mother/Sarah, the kind matriarch.
The daughters, each of whom play multiple roles, are well portrayed by Danielle Dorfman, Stella Fisher, Hannah Hensler, Israeljah Khi-Reign, Megan Polk, Alexis Wilson and Cameron Olin. They are all students or graduates of Kent State. Each has a strong singing voice and display well-honed acting and movement skills.
Jennifer Korecki and her orchestra set a note-perfect pace and sound for the production. Michelle Hunt Souza’s costumes are period correct. Cynthia Stillings’ lighting sets all the right moods and Ben Needman’s set is visually pleasing and aids in allowing the actors to create visually lovely pictures. Parker Strong’s sound design leads to clear listening.
No credit is given to whomever made the many beautiful quilts but he/she/they deserve a well-earned solo curtain.
The production, which is heighted by the creative staging and movement, is directed and choreographed by Kent, with Rhon Thomas serving as Assistant Director.
Capsule judgement: Quilters, which could be dubbed Quilters 101, is not only a workshop of the role of material and sewing in the early days of this country, but a history lesson of the experiences of the women who helped settle the Midwest. Don’t expect big chorus numbers or show stoppers, or to come out humming the score. This is a just a pleasant slice of old-time life and makes for a nice way to spend a summer evening and the return of live theater.
Quilters runs through July 3, 2021 at Porthouse Theatre, on the grounds of Blossom Center. For tickets go online to online to https://kentstateticketing.universitytickets.com/ or call 330-672-3884.
