Bruce Graham’s The Outgoing Tide, currently at the Church Hill Theatre (CHT), is a family drama set on the Chesapeake Bay. Alternating between raucous humor and harrowing life decisions, the play explores the slow erosion of memory and what to do about it.
Originally produced at Chicago’s Northlight Theatre in 2011, The Outgoing Tide won the annual Selma Melvoin Playwriting Award and Chicago’s Jefferson Award as Best New Play.
Shelagh Grasso directs this powerful production. Grasso has been one of the most active members of the local theater community, beginning as drama director of Queen Anne’s County High School. Now, in what can hardly be called retirement, Grasso has directed numerous plays at Church Hill Theatre, the Garfield Center, and Shore Shakespeare. She’s currently on the board of CHT.
The play tells the story of three characters: Gunner, a well-off retiree from Philadelphia, his wife Peg, and Jack, their adult son. The central issue is Gunner’s growing dementia — which we are made aware of in the first scene when he doesn’t recognize Jack. An outgoing, intelligent man, Gunner still has many lucid moments, and is a master storyteller. But Peg worries about the future and plans to move to a retirement home, with Gunner going to a memory-care ward when necessary. She hopes to enlist Jack’s help in persuading her reluctant husband to make the move.
Gil Raumbauch, a veteran actor and director, plays Gunner, a smart-mouthed but charming Irishman who worked his way up from driving trucks to running his own trucking company. Behind the wisecracking tough-guy exterior, Gunner realizes that he’s slowly losing his marbles and he has his own ideas what to do about it — ideas based on his take-charge self-confidence, as well as on the experience of seeing old friends go down the same path. For his plans to work, he needs to get his family on board. Raumbauch conveys the depths hidden inside the brash Philly working-class persona, making use of his physical presence.
Colleen Minahan, a familiar face to CHT audiences, is cast as Peg. A devout Catholic, Peg is distressed by Gunner’s struggle with day-to-day details of life, such as using the TV remote. His constant repetitions — such as asking for pancakes for tomorrow’s breakfast every few minutes — drives her to distraction. And she is afraid of what will come as his disease progresses. Yet her love for him remains strong — and she wants to prepare for the future. Minahan brings Peg’s inner torment home to the audience with her sensitive performance.
Christopher Wallace, another figure in the Eastern Shore theater scene, plays Jack. In the final stages of a divorce, Jack has little patience left to deal with the conflicting demands of his parents. He tries not to take sides and resents being pushed to do so. Wallace shows the character’s earnest feelings for both parents, tempered by his impatience with the games they’ve both played with him since his childhood.
Playwright Graham keeps the audience guessing with flashbacks to earlier stages of each character’s lives. The flashbacks often reveal something of Jack’s earlier relationship with his parents, each of whom told him made-up stories — in Gunner’s case to tease him, in Peg’s to deliver practical life lessons. But we also get a look at Gunner’s early life in Philly, as well as Peg’s thoughts and dreams before her marriage. All deepen our knowledge of the characters and prepare us for the play’s emotional and surprising — yet believable — climax.
The set is gorgeous. Designed by Carmen Grasso (the director’s spouse), the set conveys a serene sense of both indoor and outdoor locales — an ingenious use of the space. Dan Bowers, Jim Johnson, and Tom Rhodes assisted Grasso in constructing the set. The lighting was designed by Nic Carter and operated by Speedy Christopher. Sound design — which includes a convincing array of natural sounds plus incidental music — was by Kat Kaufman, and Anthony Daly operated the soundboard. The costumes — casual shirts and khaki pants suitable for a summer home on the Bay — were designed by Connie Fallon with help from the cast. The outfits were nothing fancy or special and that was exactly right! The producer was Sally Borhardt with mother-and-son team Michele Christopher and Connor Christopher as stage manager and assistant stage manager. A good job by all.
The Outgoing Tide is well cast with excellent performances by all three actors. There were a few dropped lines on opening night, but nothing that diminished the overall impact. The broad humor, the poignant moments, and the heavy emotional bits clearly resonated with the audience. Nobody who appreciates local theater should miss it.
Because the play presents serious adult situations with salty language, it’s not for young children. But for older kids, teens, and adults — especially anyone who has seen the effects of dementia on a family member — this play will hit home. In her opening talk, the director said she had watched her mother, to whose memory she dedicates the play, deal with the devastating effects of Alzheimer’s.
The Outgoing Tide will play through Nov. 20, with performances at 8 p.m. on Fridays and Saturdays, and Sunday matinees at 2 p.m. Tickets are $20 for adults, $15 for CHT members, and $10 for students. Call the box office at 410-556-6003 or go to churchhilltheatre.org for tickets and reservations.
Peter Heck is a Chestertown-based writer and editor, who spent 10 years at the Kent County News and three more with the Chestertown Spy. He is the author of 10 novels and co-author of four plays, a book reviewer for Asimov’s and Kirkus Reviews, and an incorrigible guitarist.
Jane Jewell is a writer, editor, photographer, and teacher. She has worked in news, publishing, and as the director of a national writer's group. She lives in Chestertown with her husband Peter Heck, a ginger cat named Riley, and a lot of books.
Title image: Pond at Pickering Creek Audubon Center, Talbot Co. Photo: Jan Plotczyk