Lyman FeltCharlie Riendeau
Nurse LoganKadye
Theodora FeltJill Drexler
Bessie Felt LambSally Dalton
Leah FeltPeggy Nielsen
Tom WilsonRett Becker

Charlie Riendeau
Jill Drexler
Peggy Nielsen
Rett Becker
Sally Dalton

ProducerKathy McCaffertyTechnicianDavid Kelso
DirectorDavid KelsoStage CrewRoger Drexler, Enid Munk, Christine Putman
Asst. DirectorDavid MeredithHouse ManagerKathy McCafferty
Stage ManagerKarla FrancescaFlyer DesignJames "Mike" McCullock
Costume DesignerSherrie ColbournProgram CoverJames "Mike" McCullock
Lighting DesignerDavid KelsoProgramNan Katona
Sound DesignerLou AllianoPhotographerTony Eisenhower
Set ConstructionBill Fay, Chris Robinson, David Kelso, Mike McCullockPublicitySherrie Colbourn
Set Dressing/PropsMary Lou ReyenPrintingPoway Printing

All pictures supplied by Tony Eisenhower

Review by Robert Hitchcox

An icy, snow covered road. A one-car accident. A hospital bed. Lyman Felt (Charlie Riendeau) lays half-comatose, recovering from the surgery that repaired his broken and bruised body. Destiny places the two wives and one daughter at his bedside. Thus, the grist for Miller’s play of love, duplicity, challenge, and confrontation. Arthur Miller explores Lyman’s life in “The Ride Down Mt. Morgan.”

Who is the real Lyman Felt? From a writer to a very successful insurance man, he has developed a company employing thousands. He lives the good life in Manhattan with his wife of over 30 years, Theodora Felt (Jill Drexler), and has a lovely daughter, Bessie Felt Lamb (Sally Dalton). Director David Kelso cast well and directed with finesse, providing the audience with a convincing Arthur Miller story..

In Elmira, New York lives Leah Felt (Peggy Nielsen), his younger wife of nine years, and their son. Two wives, two lives that are totally different. Two men: a conservative business man afraid of a physical challenge and a sports car racing, small-plane pilot, carefree lover, and loving father.

Charlie Riendeau is brilliant. His Lyman, no matter what your opinion of the lifestyle, is a an intriguing study of contrasts and conflict. Whether in his hospital bed or in various scenes throughout the play, Riendeau owns the stage. Riendeau is enthusiastically convincing that Lyman’s lifestyle is right, that, to quote Lyman, “You can be true to yourself or you can be true to others, but you can’t be true to both.”

His long-time wife, Theodora, has a good life of wealth, family, and the love of her husband. Jill Drexler’s performance ranges from that of concerned wife to spurned wife. Drexler’s performance is so real, so completely authentic one knows that she knows Theodora well. Her second act performance is exemplary.

Peggy Nielsen’s Leah Felt, wife number two, while good, was not as well internalized. Intriguing as the new love and new wife, when confronted with the duplicity of her husband, she portrayed proper shock and anger. While perfect for the part, Dalton could have given Leah even more.

Daughter Bessie (Sally Dalton) had few lines, but extensive emotions. Dalton performed well with both. Her portrayal of anger was sincere. She proved the perfect counterpoint to Drexler.

Rett Becker played Lyman and Theodora’s attorney, Tom Wilson. He was bland, a bland attorney. Although aghast at Lyman’s lifestyle, he maintained his composure.

Kadye, Nurse Logan, had some of the most significant lines in the play. As the complete outsider, an observer, Nurse Logan’s insight was strong. Kadye handled her role nicely.

The set was draped in black, with pieces controlling the many locations. Credit goes to Mary Lou Reyen for her set dressing and props. The stage crew, Roger Drexler, Enid Munk, and Christine Putman handled the many changes quite efficiently. Costume Designer Sherrie Colbourn provided an array of attire that helped define each role.

Kelso’s lighting designed established the various playing areas, with changes from one area to another that added to the drama. Lou Alliano’s sound design complimented the show.

Arthur Miller has provided the theatre with incisive drama. This is one of his best. He dissects a lifestyle, carefully examining the dimensionality and consequences of it. “The Ride Down Mount Morgan” is a strong production, worthy of your attendance.

Critic Robert Hitchcox
Date Reviewed 3-9-02