Bright Star ensemble members
Bright Star, a bluegrass-inspired musical by Steve Martin and Edie Brickell, tells a sweeping tale of love, loss, and redemption set in the American South during the 1920s and 1940s. The story follows literary editor Alice Murphy (Vanessa Domingues), whose encounter with a young soldier returning home compels her to confront a haunting secret from her past. Equipped with only that brief synopsis, I was already sold. You see, I readily admit to being a fan of Martin’s writing – his plays and novellas are quite lovely – so I expected nothing less from the Clinton Area Showboat Theatre’s production on opening night.
What I didn’t expect was to be swept away by the story as much as I was. True to Martin’s storytelling sensibility, Bright Star is full of heart, laced with tragedy, and balanced by moments of laugh-out-loud humor. Oh, and there’s plenty of banjo.
Even knowing the general arc of the plot, Bright Star still managed to surprise me. Show director (and Showboat artistic director) Courtney Ryan Crouse’s staging wasn’t flawless, but it was imperfect in the most beautiful and human ways. This production had things more important than polish; it had heart, soul, and a cast deeply invested in the tale they were telling. The energy in the theatre on Thursday was unshakable: This company knew they had something special to share, and they did just that. I truly wish I had time to see Bright Star again, and frankly, you should stop reading and go grab a ticket now.
Let’s talk about Dominguez’s Alice. This role is clearly no easy feat, and the performer handled it as though it were written specifically for her. Playing both a teenager and a 40-something woman believably might seem almost impossible, but Dominguez transitioned between ages with such fluidity that it felt as though we, the audience, were drifting through her memories right alongside her. And then there’s her voice: a clear, commanding instrument that navigates the bluegrass score with jaw-dropping ease. Over the course of the evening, Alice rides emotional highs and devastating lows, and Dominguez meets each with nuance, instinct, and vulnerability. It’s a magnetic performance.
Alice shares the stage, and her story, with two equally compelling men: the mayor’s son Jimmy Ray (a grounded, quietly passionate Jesse Wilkerson) and aspiring writer Billy Cane (the infectiously optimistic Hunter Quinn). Wilkerson and Dominguez share a striking connection on stage, their chemistry rooted in shared history and unresolved longing. Jimmy Ray, torn between love and duty, is a richly complex role, and Wilkerson inhabits that tension beautifully.
Quinn’s Billy, on the other hand, brings buoyancy and warmth. With wide-eyed ambition and an open heart, Billy is a dreamer whose sincerity and determination make him instantly likable even when he’s clueless to the affections of his childhood friend Margo (an effervescent Amanda McGovern). His scenes with Dominguez’s stern and elegant Alice are especially compelling, providing both emotional contrast and unexpected tenderness.
Music director Sabin Fisher also deserves special recognition, particularly for the decision to place the orchestra on stage. This choice added a vibrant, lived-in feeling to the production’s soundscape. And yet the cast was so captivating that I often forgot they were there. One moment in which the musicians came front and center landed when Jimmy Ray’s father Mayor Dobbs (Karl Hamilton) delivered his villainous reprise of “A Man’s Gotta Do.” Make no mistake: Dobbs is despicable from the start. But what makes him chilling is that he believes he’s doing what’s best for his family. And Crouse made a brilliant staging choice by placing banjo player Mick Jutila next to Hamilton during this number, serving as a kind of musical devil-on-the-shoulder, heightening the character’s twisted conviction. (Fear not: Mayor Dobbs gets his comeuppance.)
To balance the show’s heavier emotional moments, we have Alice’s charismatic office staff, Daryl (Dylan Renart) and Lucy (Ella Patras), who consistently steal scenes with their sharp comedic timing and lively banter. Their second-act number “Another Round” is a rollicking song packed with sass, swagger, and boozy bravado as they try to convince Billy to loosen up. Patras and Renart excel in this number, delivering powerhouse vocals and a healthy dose of attitude. It’s a much-needed breath of levity that lets both actors flourish and cut loose.
Crouse’s other ensemble members also deserve high praise. They fill out the world of the show with rich vocals, tight movement, and total commitment, whether square dancing at a town social or simply browsing books in a store. Crouse excels at stage composition, ensuring that even the busiest scenes feel intentional and balanced. This cast proves that, when done right, there really are no “small” parts – these stars collectively shine, ahem, bright.
In the show’s opening number, “If You Knew My Story,” Alice sings, “You’d have a great story to tell.” That line repeats throughout the show, and by the end, it rings entirely true. Bright Star is a story worth telling. Yes, it’s a little sentimental and, also yes, you may see some of the plot twists coming. But its emotional core is strong, its music infectious, and its spirit undeniable.
Bright Star runs at the Clinton Area Showboat Theatre (611 Riverview Drive) through July 27, and more information and tickets are available by calling (563)242-6760 and visiting ClintonShowboat.org.
