And by all, I mean the standing-room-only audiences whooping it up following each performance of Thornton Wilder’s Pulitzer Prize-winning three-act play “Our Town,” currently running through Saturday, October 24 at the historic Tusten Theatre in Narrowsburg, NY. 

I took my seat along with a packed house of aficionados last Saturday, to take in the Delaware Valley Arts Alliance (DVAA) presentation of Wilder’s classic American drama, which depicts small town life in fictional Grover’s Corners, NH, circa 1900.

DVAA Executive Director Ariel Shanberg shared some thoughts with the audience prior to the curtain going up.

“50 years ago,” Shanberg said, echoing his notes in the program, “the Narrowsburg Theatre Group, an assembly of local residents, gathered to put on a production of ‘Our Town.’”

“In celebration of DVAA’s first 50 years,” Shanberg explained, “and our commitment to ensuring that the arts remain an accessible and a central element of rural life, it felt apt to once again visit the town of Grover’s Corners  and a play that honors the rich textures found in the ordinary and eternal cycles of life in a small rural American community.”

With close to 20 actors all told, the make-believe town sprang to life under the stylized direction of Narrowsburg’s Greg Triggs, enhanced by Karen Flood’s period costumes, and Grese Productions’ lighting and sound design. I’m unsure what Sean Harrington’s “Special Projects” refers to, but between that mention, and the efforts of seamstress (another credit one doesn’t often come across) April Ryu, and production stage manager Leslie Hess, the show ran seamlessly, taking the audience on a sweet, sentimental journey of days gone by.  

It’s easy to imagine how similar old-timey Grover’s Corners might have been to 1900s Narrowsburg, and while some of the action would surely be construed as hokey by young folks today, for those of us who remember a life before cell phones,  influencers and social media, there’s comfort to be had (IMHO) in revisiting the not-so-distant past.

“Some people are made for small-town life,” Dr. Gibbs (James Sullivan in a nice, feel-good understated performance) declares, reminding me of why I live where I do, in a world that many consider a throwback to traditional family values that still hold true, despite the many changes taking place out there. 

As for other actors (and the residents they portray), I would happily give shout-outs all around, but there are a few standouts in Grover’s Corners, including Matt Carpenter (Mr. Webb), Matt Nolen (Simon Stimson), Jenn Torry (Mrs. Webb) and Kevin McDonough (Constable Warren). Special mention goes to Pamela LeConey for her amusing, all-too-brief appearance as Mrs. Soames, the laughingly cringe-worthy choir members, and the rotating cast of actors playing “woman on the aisle.” 

Junior performers Emmet Schwalb, Alice Schwalb, Luna Ditacchio, Alden Bratland and Adele Adler Frigoletto all lend an air of youthful authenticity to the Grover’s Corners kids.

But at the heart of the town are the teenaged lovers Emily and George, portrayed lovingly, sweetly and earnestly by Lexee McEntee and Hudson Williams-Eynon, respectively. I hadn’t seen “Our Town” since high school, so my memories are hazy, but I don’t recall being as wrapped up in their story as I was the other night. It might be because McEntee and Williams-Eynon are more skilled than my high school chums were back in the day, it might be because I’m more mature, or it might be because Triggs brought out the very best in his entire troupe (regardless of the heavy-handed use of miming stage directions), but whatever the reason is…it works.

Along with Sullivan’s Dr. Gibbs, leading the pack of talented performers is Susu Mendoza, whose layered, sympathetic, loving portrayal of matriarch Mrs. Gibbs still haunts me a few days later, and the entire story is held together by none other than Arthur Aulisi, whom I waxed rhapsodic about just a column or two ago, when he was performing in another show across town.

As the Stage Manager, Aulisi is able to break the fourth wall, speaking directly to the audience and acknowledging them as such, while guiding us through the action with a wink and a nod to let us know that he is in on the joke, when applicable. 

To be completely transparent, I didn’t want to see the show. I didn’t want to drive at night (yep), nor sit through what I considered to be a treacly, overly sentimental, far-too-old fashioned Norman Rockwell-ish depiction of small town life—and yet this production drew me in, kept me interested and even caused a tear or two (I know, I’m just a sap in wolf’s clothing) to snake its way down my wrinkly old cheek. 

So I’m glad I went, happy to see so many people working together harmoniously (at least to the outside world) to create, entertain and share their time, talents and gifts (and those of the playwright) with an enthusiastic audience of well-wishers, admirers and fans.

“In our town,” the stage manager says while addressing the audience, “we like to know the facts about everybody,” and that holds true today—the good, the bad and the ugly. Just goes to show that while the names and locales might change through the decades, some things remain the same, and this charming, disarming theatrical salute to nostalgia is one of them, much to my surprise. 

“What an honor to be involved with this production celebrating DVAA’s 50th anniversary. Congratulations to Elaine, Ariel and all those who have contributed to this milestone.”—Greg Triggs, director.

For tickets and information, go to www.delawarevalleyartsalliance.org.