Review: THE RAINMAKER at Don Bluth Front Row Theatre

N. Richard Nash’s THE RAINMAKER blends a “plain” woman’s quiet desperation and self-discovery with the backdrop of a relentless drought. However, in today’s era of “leaning in” and “MeToo,” its gender dynamics feel strikingly outdated.

Yet, despite its period-specific gender norms, the play has secured its place in the theatrical canon. From its debut as a stage play in 1954 to later adaptations, including the 1956 film starring Katharine Hepburn and Burt Lancaster, the 1982 TV movie with Tommy Lee Jones and Tuesday Weld, and the musical 110 in the Shade, Nash’s play resonated with its era…exploring human longing and the power of belief, and the courage to dream beyond one’s limitations—timeless themes that transcend its period setting.

The Don Bluth Front Row Theatre, known for its intimate in-the-round productions, approaches this classic with sincerity, transporting audiences to a time when societal expectations for women were painfully narrow. Under the direction of Diedra Celeste Miranda, the production, running through April 26th, is heartfelt and engaging, though it occasionally leans into sentimentality at the expense of dramatic tension. Nash’s writing shifts between realism and lyrical optimism, and this production largely honors the script’s emotional depth.

Set in Depression-era and drought-stricken western America, THE RAINMAKER centers on Lizzie Curry (Jori Beth), a strong yet vulnerable woman whose father (Mark Groberski) and brothers—Noah (Brian Kwiecinski) and Jimmy (Nick Phillips)—grow increasingly anxious about her unmarried status. Enter Bill Starbuck, a charismatic drifter who promises to bring rain—for a price. More than just a conman, Starbuck acts as a catalyst for Lizzie’s self-discovery, challenging her to see herself beyond societal labels.

Lizzie’s predicament is one with deep roots in literature and theatre. Like many heroines before her, Lizzie embodies the intelligent yet marginalized woman—one whose worth is measured by marriageability rather than personal fulfillment. From Shakespeare’s Beatrice to Austen’s Anne Elliot, from Ibsen’s Nora Helmer to Tennessee Williams’ Laura Wingfield, the “spinster” figure has long been a subject of either transformation or tragedy. THE RAINMAKER continues this tradition but offers a more hopeful resolution. The anxiety surrounding Lizzie’s unmarried status echoes that of Marian Paroo in The Music Man—a connection underscored by an amusing prop coincidence. In this production, the bass drum Starbuck instructs Jimmy to beat bears the name “Prof. H. Hill,” an unintentional (or was it?) nod to Meredith Willson’s charming fraudster. What’s more, Rob Stuart, who plays Starbuck, has previously portrayed Harold Hill, bringing a similar fervor to both roles.

Jori Beth delivers a compelling performance as Lizzie, capturing her practicality, insecurity, and longing. In quieter moments, she allows the audience to glimpse Lizzie’s inner turmoil, though at times, her emotional crescendos feel slightly overplayed in the intimate space.

Rob Stuart’s Starbuck is charismatic and larger-than-life, though his performance occasionally leans into showmanship at the expense of depth. His chemistry with Beth is strong, though some moments would benefit from a more gradual emotional build.

Mark Groberski’s H.C. Curry exudes warmth and paternal concern, grounding the production with authenticity. Brian Kwiecinski (alternating with Brian Stuart) portrays Noah as a practical but emotionally rigid older brother, though his delivery could use more nuance to make the character more sympathetic. Nick Phillips brings delightful comic relief as Jimmy, whose youthful optimism contrasts well with the family’s weightier concerns.

Ryan MacNamara’s File is subtly effective, portraying a man guarded by past heartbreak yet drawn to Lizzie in ways he cannot fully articulate. His understated performance provides a refreshing counterbalance to Starbuck’s expressiveness. Meanwhile, Will B. Friday’s Sheriff Thomas is pragmatic and good-humored, serving as a voice of reason amid the heightened emotions. He recognizes Starbuck as a conman but wields his authority with sensitivity, embodying the play’s underlying themes of belief and transformation.

In the end, THE RAINMAKER remains a heartfelt and intimate production that highlights the story’s enduring themes of self-worth and hope. The set design is understated yet effective, with rustic details evoking a modest, struggling ranch and focusing attention on the tension between the characters. While the script’s melodramatic elements and some pacing issues detract slightly, the strong chemistry between the leads and the production’s sincerity make it a worthwhile experience.

THE RAINMAKER runs through April 26th at:

Don Bluth Front Row Theatre ~ 8989 E Via Linda, Ste 118, Scottsdale, AZ ~ 480-314-0841 ~ https://donbluthfrontrowtheatre.com/

Photo credit to Mark Gluckman ~ L to R: Jori Beth, Rob Stuart

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