“Oh, earth, you’re too wonderful for anybody to realize you,” says Emily from the afterlife. “Do any human beings ever realize life while they live it—every, every minute?” As played by Lexee McEntee in the DVAA’s production of Thornton Wilder’s “Our Town,” she had the chance to go back one last time to see her life as she lived it. Her guide, the Stage Manager, played by Arthur Aulisi, mutters, “Maybe poets and artists do.” But no, Emily, most of us just stumble through life, not recognizing its preciousness.

In an era consumed with politics and war, unbelievable wealth and its mirror poverty, on a burning earth still revelatory in its beauty, the story of “Our Town,” as performed in our town recently, quietly screams at us to take notice.

I didn’t take a lot of notice when the first auditions for this production were announced. I had decided to take the summer off from theatrical pursuits after a rather grueling few months. And I didn’t remember the play as particularly affecting in the past. (I will admit the past was long ago.) But when the director, Greg Triggs, decided to cast the (no) small part of Lady on the Aisle with a different actress for each performance, he graciously asked me to be one. It was perfect for me. No long summer of rehearsals, only a few lines to memorize and a feeling of belonging to a potentially historic production in my own hometown.

I remembered my neighbors, Ed and Doreen Kraus, now gone to the afterlife, telling me about the production in 1976 and how many townspeople were a part of it. The inspiration for this new production was a random thought balloon from Ariel Shanberg, the DVAA’s current artistic director, when planning the Delaware Valley Arts Alliance’s 50th anniversary year. The 1976 production had been the brainchild of Elaine Giguere and her husband Tom DeGaetani. When Ariel approached Greg with the idea, he agreed to direct. Greg has a long resume of directing shows for big names like Disney, and he was certainly up to the task. 

My experience of seeing the play now was a revelation. As someone who has tread the boards on many stages in Sullivan County, I know a lot of the regular actors here. Some of us go way back and think of each other as theater family. Some are as new as fresh dew and showing their talents for the first time. A few have credits on union stages. They are all talented in their own way. But the leads in this production brought a depth of character and a fine ear for Wilder’s eloquent language. 

There is a heap of sorrow in this play, but it is never maudlin. Instead, it inspires thought, deep thought, about the meaning of life and love and death. When Emily finds herself in the afterlife talking to her Mama, it reminded me of the time my brother “spoke” to me from his framed photo shortly after his death. “I’m here,” he said, “I’m OK.” It rang true to me then and it rang true to me onstage. 

Judging by the filled seats in each performance, most of you saw the show. But I can’t let the excellent production values go undervalued. Grese Productions did a beautiful job with lighting (although limited in the Tusten Theater) and visual effects; Karen Flood provided costumes that authentically portrayed the early 20th century; renowned artist Francis Cape built custom benches, which were the only and very effective scenery; and Leslie Hess was the calmest, most together stage manager ever. Jorge Colombo provided poster design and photography that elevated this local production to Broadway quality. Bravo to all involved!