I write about community a lot. It is, after all, the reason that I chose to make the Catskills my home. After visiting and vacationing in the area for many years, I began to feel that if I made the Upper Delaware River region my home, I might actually find a sense of belonging, something I hadn’t even realized was missing. 

It’s not that I didn’t have a full life before relocating, and I had definitely put down roots where I was. I’d spent nearly three decades in California, which was “as far from New York State as I could go without leaving the country” as my mother was fond of saying. Oddly though, it never really felt like home, and I found myself leaving the city lights behind me as often as possible, yearning for a quieter life, one replete with fresh air and trees and clouds and seasons. That, coupled with circumstances best left for another day, propelled me to pick up, pack up and begin a new chapter nearly 20 years ago. 

And happily, I found what I sought: a renewed sense of purpose, a reason to get up in the morning and yes, a sense of belonging to a community that welcomed me with open arms. Of course, that was a while ago. At this point there are surely some folks who would be happy to show me the door, but I’m here now, for better or worse, so—sorry/not sorry. Looks like I’m here to stay.

Belonging. It means different things to different people, but when I heard about “On Belonging—Reflections on Community in Four Short Plays”—created by a company called “Standing People Together Theatre,” which is designed to “connect people to people, and people to nature”—I knew I had to check it out. 

I learned that in April 2024, local writers were invited by Standing People Together Theatre to submit 15-minute plays that explored the theme of belonging. Four plays were selected, rehearsed and refined through a series of public rehearsal workshops. Presented by the Delaware Valley Arts Alliance, and featuring Cass Collins, Eric Feinblatt, Erinn Gilmore, Nick Lopez and Ellie J (and enhanced with effective light and sound design by Sean Grese), the plays were presented at the Tusten Theatre in Narrowsburg last weekend. The place was packed. 

The first play presented was Cynthia Nash’s “The Crossing,” described as a short play that “weaves together multiple generational narratives, which span time and private memories of life in, on and around the Skinners Falls Bridge.” As the first of four acts, “The Crossing” provided the audience with a glimpse of what was in store. Solid writing, wonderful direction, a cast of seriously accomplished actors and great production design with the Poison Love Band providing perfect musical interludes bridging (see what I did there?) the scenes and acts. 

I’m unsure of who did what, since the program only indicates that all four short plays were directed by “educator, photographer and filmmaker” Feinblatt and “theatre director and author” Caroline Baillie.

The second act was Tiffany Esteb’s “Diner” which, as described, “choreographs three waitresses through a surrealistic landscape of repetitive frenetic activity and anti-immigrant hate.” The fast act provided a new twist on a device that’s been utilized before—as the actors perform (basically) the same scene repeatedly, with slight changes made in each incarnation. It causes the storyline to shift and morph, leading the audience to root for the underdog and get a disturbing glimpse into the mind of the antagonist. Once again, the cast excelled (IMHO) at displaying acting prowess, the music was well placed, and the unique staging was cool. 

Third up was Laura Moran’s “The Cathedral,” which “explores the tension between a lifetime [spent] building a traditional dream, then sacrificing it so others may live.” Not unlike the other three pieces, Moran’s play provided actors Ellie J and Eric Feinblatt an opportunity to just act the hell out of it, this time portraying father and son. Honestly, I can only imagine how thrilled all of these performers must feel to have had the opportunity to not only present new plays, but to explore them through the workshop process, which was developed in part via a community development grant through Sullivan 180. 

Last up, Greg Thomas’ “The Birthday List” was a surprising snapshot of life which, as described, “explores the loving but fragile relationship between two longtime friends as one of them transitions from man to woman.” Featuring Lopez and Ellie J, the act was as amusing as it was touching—another testament to the team of writer, director and performer. It was a trifecta that all stage plays wish they possessed but not all can accomplish. Yet another outstanding presentation. 

I can hear murmurs amongst you now: “Surely he must have something to complain about, right?” Of course I do, and that would be the lack of photographs to back up this truly wonderful production, especially in light of the fact that Mr. Feinblatt’s resume includes the word “photographer.”

After much whining and cajoling (from yours truly)  both he and DVAA executive director Ariel Shanberg provided me with several awful, out-of-focus shots for me to include here. But I just can’t—so I’ll attach one that I took on my way to the theatre, instead. Maybe next time.

For more about Standing People Together Theatre, follow it on Facebook, and go to www.delawarevalleyartsalliance to learn more about their programming.