The action opens at the Soady deer camp north of Escanaba, Michigan. The camp, designed by Gary Buerk and constructed by Don O’Neal, made one feel there was a deer or bear or something wild just outside the door. Its décor of skins, rickety table, and mismatched chairs clearly said, “Remote camp”.

Albert Soady, played by Mike Willinger,tells the tale of the strange 1989 deer season. It was a season revolving around pasties, Euchre, UFO’s whiskey, Indian mysticism and lots of bathroom humor. The strangeness revolves around Rueben Soady, played by Greg Gillen, who a t age 35 still hadn’t shot his first buck. In this family that is
shameful, and if he doesn’t get one this season he will have the world record of being the oldest person never to have shot a buck.

This production was enhanced by the good performances turned in by the well-cast actors (kudos to director, Molly Durst, for her first adult play-all previous experience was with kids’ shows) who interacted as a believable family ensemble.

It was good to see Greg Gillen (Rueben Soady) back after a five year absence. His facial expressions were wonderful, especially when he entered a trance and maintained a frozen look despite the crazy antics surrounding him along with the laughter of the audience. Bob Wells (Jimmer Negamanee) was impressive and so humorous with his crazy speech patterns of many esses and yet he was able to convey what he needed to. Jimmer was understood by the younger excitable brother, Remnar Soady (Dave Del Signore). Dave’s interpretation of the younger brother played well and left no doubt that he was family. Mike Willinger is always fun to watch. He ran the gamut of hard drinking, angry

impatient dad to gentle, sympathetic father. Perhaps a little faster pace, especially during the longer monologues, would have enhanced his performance and the show as a whole. Rounding out the cast and adding to its joy were Dave
Kwiatkowski (ranger Tom) and the mystical Ojibwa Indian, Wolf Moon Dance Soady (Carol Del Signore).

There were only a couple of “downers” (besides the weather) in this “upper” play. One was the lack of accent other than the two words “ting” and “tink”. It would have been better to forget the accent altogether. The other was the visibility or lack there of. I sat in the first row of the second tier and could not see a lot of the action, much of which was on the chairs and on the floor. Perhaps a raised stage should be considered next time.

All in all, Escanaba in da Moonlight was an enjoyable evening that deserves many stars for director, Molly Durst, and her entire cast and crew.