Review: CRIMES OF THE HEART at The Wimberley Playhouse

The Wimberley Playhouse presents CRIMES OF THE HEART by Beth Henley as the opening of their 2025-2026 season, and it is a captivating experience that deeply resonates with audiences. Through the emotional journeys of its characters, the play explores themes of transformation, self-discovery, and the sometimes painful, yet beautiful, realities of life. Henley's writing brings vulnerability and authenticity to the stage, allowing the characters’ struggles and growth to connect with each viewer on a personal level. The production captures the heart of the play, creating a poignant and memorable experience for all who attend.

CRIMES OF THE HEART premiered Off-Broadway at the Ensemble Studio Theatre in 1980 and quickly gained attention for its witty and poignant portrayal of family dynamics. It is a dark comedy that follows the three Magrath sisters—Lenny, Meg, and Babe—as they reunite in their small hometown of Hazlehurst, Mississippi, following a series of personal and family crises. Each sister is dealing with her own troubled past and complicated present, from Lenny's bitterness over unfulfilled dreams to Meg's failed career and volatile love life, and Babe's legal troubles after shooting her abusive husband. The play delves into themes of family loyalty, forgiveness, and the struggle for self-acceptance, blending humor and tragedy as the sisters come to terms with their individual "crimes" and attempt to rebuild their lives. Through Henley’s sharp dialogue and quirky characters, the play explores the healing power of love and the importance of facing one's past.

Director Tysha Calhoun’s sensitive and professional directing shines through her outstanding cast and their exceptional work on stage. The flow of movement, the intensity of the arguments, and the uncomfortable reconciliations that eventually transform into moments of laughter and family connection all reflect her impressive directing skills. Calhoun expertly navigates the delicate balance between humor and heartache, guiding the actors to deliver performances that are both deeply emotional and authentically comedic. The seamless transitions between tense moments and moments of lightness underscore her ability to draw out the complexities of the script while keeping the audience fully engaged. The pacing is perfect, and each scene feels grounded in the raw reality of the characters’ struggles, yet still holds onto the play’s sense of humor and hope. It's clear that Calhoun's direction has brought out the best in her cast, resulting in a production that resonates long after the final curtain falls.

Sarah Coyle’s portrayal of Lenny in CRIMES OF THE HEART brings a profound earthiness and depth to the character, embodying the complex reality of an older sister who has shouldered family burdens while suppressing her own desires. Coyle masterfully captures Lenny’s underlying depression and frustration, particularly in the opening scene where Lenny struggles with a simple act—lighting a candle in a cookie, taken from a jar on the counter—and singing Happy Birthday to herself, only to be interrupted. This moment of quiet, heartbreaking isolation immediately sets the tone for Lenny’s character, who has sacrificed her dreams for life to care for her aging granddaddy. Coyle’s gravitas in portraying this worn, almost defeated woman on the brink of turning 30 is nothing short of astonishing. Throughout the performance, she seamlessly becomes Lenny, drawing the audience into her character's struggles and vulnerabilities with remarkable authenticity. As Lenny begins to turn toward hope, Coyle’s performance truly shines, beautifully capturing her character's transformation. Coyle’s nuanced portrayal of Lenny's shift from weariness to newfound hope lifts the hearts of the audience, offering a powerful reminder of the possibility for change and resilience, even after years of hardship. Through her subtle yet deeply moving performance, Coyle conveys the gradual emergence of Lenny’s strength and the spark of renewal within her, allowing the audience to feel the emotional weight of her journey. It is a testament to Coyle’s skill that she can evoke such empathy and inspiration as Lenny embraces the possibility of a better future.

Emily-Ann Patterson’s portrayal of Meg in Crimes of the Heart beautifully offsets Sarah Coyle’s Lenny with her character’s vigor and deep desire to embrace life. Patterson captures Meg’s zest for living while subtly revealing the shadows of her past, particularly her mother’s suicide, which she tragically discovered. Through Patterson’s performance, the audience feels Meg’s vibrant energy, yet also senses the undercurrent of fatigue, loss, and unspoken desperation that defines her. Kelly Menz as Babe is an equally skilled and polished counterpart to both Coyle and Patterson. Menz brings to life the awkward, abused younger sister with a delicate balance, portraying Babe’s emotional complexity with striking authenticity. She deftly captures the tension between Babe’s awareness of the consequences of her actions—shooting her husband—and her almost indifferent, distracted reaction to the situation, shifting her focus onto other concerns. Together, these three performers create a dynamic and compelling portrayal of the Magrath sisters, each bringing a unique emotional depth to their roles.

David Young’s portrayal of Barnette in CRIMES OF THE HEART is possibly one of the best depictions of a quirky, sober character I’ve seen. Young perfectly captures the essence of a reserved, professional man, initially leading the audience to believe his character might be dry or uninteresting. However, this impression quickly fades as Young’s impeccable timing and subtle wit bring unexpected, hilarious outbursts that emerge at the end of sentences, only to be immediately followed by a return to his typically composed demeanor. Throughout the play, Young commands the role with expert precision, skillfully balancing Barnette's restrained nature with moments of comic brilliance, providing a unique depth and charm to his character.

The cast is completed by Elle Klein Garrison as Chick, the Magrath sisters' cousin, whose loud clothes and even louder personality provide a perfect contrast to the more subdued characters. Chick’s condescending and sneering attitude brings a sharp, judgmental edge that reflects the narrow-minded culture of the small town the sisters live in, adding tension to the dynamics of the play. Samuel Ellisor, as Doc, the past love interest of Meg, brings a rural authenticity to the production, grounding the play in its Southern setting. Ellisor’s portrayal of Doc not only adds to the play's rustic atmosphere but also helps deepen the complexity of the scenes, subtly revealing the emotional layers between the characters, especially Meg and Doc. Together, Garrison and Ellisor round out the ensemble, each bringing unique qualities that enrich the overall performance.

As I’ve learned to expect at Wimberley Playhouse, the production elements for CRIMES OF THE HEART are outstanding. The set and lighting, designed by Todd Allen Martin, assisted by scenic artist Carol Dolezal and six set builders, is constructed in two layers, perhaps inspired by the tri-level houses popular in the 1970s, and feels almost surreal in its accuracy. The cabinets, with their flat white paint and red inserts, match the checkered tile floors of the era (and the cake at the end!), while the appliances look like they were sourced directly from that time. Melinda Ellisor’s properties design is immaculate, featuring rooster canisters that could have belonged to their grandmommy, floral paintings on the wall, dish drainers, iron pitchers, and a quilted tablecloth, all contributing to the sense of a lived-in, familiar home. The crocheted afghan and needlepoint sampler on the wall further evoke the warmth and comfort of family life. Every item, from the smallest detail to the larger pieces, feels integral to the play and its characters. The actors interact seamlessly with these props, so much so that it truly feels as though the home is theirs—down to the small, relatable detail of a slightly raised edge on a braided oval rug, which is tripped over and stomped on in frustration--something so many of us do in our own homes every day. The set and properties not only enhance the atmosphere but also serve to deepen the connection to the family dynamics at the heart of the play.

The sound design by Casey Prowell perfectly complements the quality and professionalism of the set and properties, enhancing the overall atmosphere of the play. The preshow and intermission music, featuring iconic black blues artists such as Big Mama Thornton, Memphis Slim, Victoria Spivey, Reverend Gary Davis, and others, sets a deeply Southern tone while reflecting the emotional undercurrents of the various characters' heartache. This music not only establishes the time and place but also subtly mirrors the themes of struggle and resilience that run through the play. The sound effects throughout the production are thoughtfully balanced, never overshadowing the action or dialogue. From the ringing of the phones—placed exactly where they should be on stage—to the carefully timed moments of ambient sound, the design works seamlessly to underscore the mood of each scene, enhancing the emotional impact without drawing undue attention to itself. Prowell’s sound design is an essential and cohesive element, further deepening the emotional resonance of the play.

Melinda Ellisor’s costume design in Crimes of the Heart is exceptionally well-executed, adding another layer of depth to the characters and their stories. One detail that particularly stood out was Lenny’s dress, which requires constant tugging and has a hitch in the back—a subtle yet impactful touch that many larger women will instantly recognize from their own experiences with clothing. It’s a costuming detail I’ve never seen on stage before, and it adds a level of realism and relatability that is greatly appreciated. The bold, eye-catching outfits for Chick perfectly match her judgmental, flashy personality, while Meg’s boho style effortlessly reflects her free-spirited nature. Barnette’s small-town lawyer attire, Doc’s almost-farmer look, and Babe’s attempt to dress professionally, yet with a quirky edge, all add to the richness of the characters. Every costume feels meticulously chosen to reflect not only the individual traits but also the larger context of the characters’ lives, and the level of thought and attention to detail is truly impressive. Great job!

Ultimately, CRIMES OF THE HEART, so well executed by The Wimberley Players, reminds me that we are all on a journey of transformation, often heading in directions we least expect. It beautifully captures the complexity of relationships, particularly the exceptionally difficult and messy nature of familial bonds. Henley’s writing explores how we carry our pasts, struggle with our present, and, despite the heartache and chaos, continue to search for hope and healing. The play serves as a poignant reminder that even through the most challenging moments, there is always the possibility for growth and change, no matter how unlikely it may seem.

I highly recommend this play, and encourage my colleagues in the larger theater community to drive out to Wimberley, enjoy the town, and see this exceptional production. You won’t be disappointed. It is important to note that there are some cautions for youth and/or children, including frequent mention of suicide, the inflicted death of an animal, some light cursing, some alcohol and cigarettes on stage, and light discussion of sex.

CRIMES OF THE HEART

Play by Beth Henley

Theater Company: The Wimberley Players

Venue: Wimberley Playhouse, 450 Old Kyle Road, Wimberley, Tx 78676

February 21-March 16, Fridays and Saturdays at 7:30 p.m., Sundays at 2:30 p.m.

Running Time: 2 hours, with a 15-minute intermission

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