In his notes to the director in the script of “Almost, Maine,” John Cariani self-effacingly cautions that his play “is almost bad. It toes the line [between corny sentimentality and honest surprise].“ His challenge to the director: “Don’t let it be bad. Make it good. Great, even.” With all due respect to a playwright whose work has been more frequently produced on the high school stage than Shakespeare’s over the last decade, I would argue that “Almost, Maine” more accurately straddles the difference between good and great.
While the thought of basking in easy praise is certainly appealing, the fact remains that with minimal directorial “vision,” this show was always destined to be at least good. To start with, the play mines time-tested motifs -- love, friendship, the need to connect, the very real chance that connection might fail. Hollywood and Broadway churn out countless productions exploring these themes each year, and for good reason; they are inherently interesting.
Second, the nine stories of “Almost, Maine” read as utterly charming, funny, and poignant - often at the same time. In this mythical town that almost exists, Cariani blends the realistic with a hint of the magical - a bit of Gabriel Garcia Marquez with your Thornton Wilder, if you will. The nine short scenes, underscored by modern, snappy dialogue are utterly believable and yet slightly fantastical...which ironically lends them even more emotional credibility.
Finally, the residents of Almost, despite their rural roots, provide perfect dramatic mirrors. The relatability of these characters -- their unmistakable humanity -- is a gift to young actors. While most of the cast has not even visited the state of Maine, to say nothing of its northern reaches, each of them was able to latch on to the tenuous balance of hopefulness and despair in each of their characters. An awkward boyfriend tentatively taking the next step. A hopelessly optimistic ex looking to recapture what he lost. A married couple on the brink. A friendship either dissolving or undergoing a metamorphosis.
Yes, the play is sentimental, and sentiment may not seem to play a large role in our 21st century lives. But behind our daily armor, our irony, our snark, I think Cariani knows that at some level, we all crave a bit of that earnestness, that honest sentiment that speaks to the heart. Tempered with despair and longing, it is that pursuit of elusive joy through connection that makes this play sing.
“Don’t let it be bad. Make it good. Great, even.”
Check and check on the first two. The last we leave for you to decide.
Welcome to “Almost, Maine”!
- Rob Cross, Director
