As I watched the opening-night production of the Timber Lake Playhouse’s Always … Patsy Cline, I kept thinking of the word “harmony.” Thinking about musical harmony certainly was appropriate, as this was, after all, a stage musical. Then I reflected on how harmonies can be calming and tranquil or dissonant and disparate. Yet I still hadn’t been able to place why “harmony” kept going through my mind until it hit me that what I was seeing, hearing, and experiencing was true balance – an interweaving of two very different stories that were connected in the nearly perfect parallel of two actresses' performances. “Yes!”, I thought. “Harmony!”







It struck me, during Saturday's matinée performance of Big River at the Timber Lake Playhouse, that theatre is my church, considering I repeatedly wanted to raise my hands in praise and shout "Amen!" at various points, and in ways I used to while attending Sunday services in my younger years. Theatre, for me, is a spiritual experience, and this Big River served as a big-tent revival that reminded me of that truth.
Though I've watched the film version several times and viewed a staging of its musical earlier this summer, the Timber Lake Playhouse's production of Big Fish still had me choking back tears despite my (over-)familiarity with the material. That's in no small part due to the magic in director James Beaudry's staging, the cast's endearing rendering of the supporting characters, and Karl Hamilton's captivating charm as Edward Bloom, the father at the center of this tale of tall tales.






