After a very careful set of rehearsals due to COVID precautions, following stringent guidelines to keep cast and crew safe, Ponca Playhouse presents the first production of 2021, and it’s a strong one. John Steinbeck published the novella Of Mice and Men in 1937, basing it on his own experiences as a teenager working with migrant farm workers.

On the Playhouse stage, director Sam Stuart brings the themes of isolation and loneliness, of hopes and dreams often gone awry, and of how difficult it is to stay close to someone who isn’t just like everyone else to life for all of us to experience. Stuart explains what has been most memorable during the process: “This play requires a lot of vulnerability from the cast, and they have learned to rely on each other in amazing ways.”

We are treated with that reliance right from the beginning as we become acquainted with the two main characters of the drama, Lenny and George, two migrant workers traveling together. Lenny Small may be mentally challenged, but he is physically large and strong, leading to some of the biggest challenges for the duo. L. Bernard Marsh plays Lenny with such joy that we are empathetic with him even when he is “bad.” Marsh keeps his childlike qualities evident as he implores his friend George to repeat stories and, even, in the harshest of moments when it might be easy for us to forget. We never lose our love for Lenny.

George Milton, played by Playhouse veteran Ryan Brown, requires the most diversity in the drama, and Brown’s versatile performance is brilliant. Right from the first scene, we see him exasperated with Lenny but still feel how much he cares. He impatiently repeats the stories of their dream to have their own place, at Lenny’s request, and yet says that without him, “I could live so easy.” One of the most endearing moments in the drama is when we hear the story about when George stopped playing tricks on Lenny. I’ll let you hear it for yourself. If there is any true love shown, it is through George’s devotion to his friend and partner, and Brown makes sure we feel this even during every bit of George’s frustration, anger, and anxiety.

Candy, played by John Maddox, is an older worker who has lost one hand on the job. An early heartbreaking moment is a scene about his aging dog. I’m not going to give it away, but if you’ve loved and lost a pet (and I recently have), you’ll feel Candy’s pain. It’s clear the dog’s use (or lack thereof) is parallel to Candy’s, making his finally having a dream of a new start very appealing.

The most respected hand on the ranch, Slim, is well played by Stephe Long, who shows his easy rapport from beginning to end with everyone on the ranch. No small feat with this crew of characters. First, we see him visiting with ranchhand Carlson, played by Blake Brown, who we later see in a couple of tough scenes. Slim also keeps the peace between others and the boss, portrayed by Playhouse newcomer John Andrew, and his perpetually aggravated son Curly, depicted well by J.P. Mays. We also first meet the youngest ranchhand Whit, played by Austin Hamman, when he comes in and visits with Slim.

Rounding out the cast are a couple of other characters who are outsiders to the rest. Curly’s wife, played nicely in every scene she’s in by high school student Lynna Storm, is more a symbol of how one piece of danger can send all dreams astray than an actual character. She’s never given a name, and yet she’s ever present, it seems, physically or as a looming threat.

Last but not least is Crooks, the Black stablehand who gets his name from his crooked back, played by Claude Bradley. Bradley plays Crooks as the proud but cynical man he should and would be in this setting that discriminates against him, demeans him, and yet relies on him. Well done.

This drama may not be for the very young due to language and themes, but those themes will resonate with the rest of you in times like today. Isolation, loneliness, hopes, dreams…it’s all on the Playhouse stage waiting for you. As Crooks says, “A guy needs somebody to be near him.”

Sam Stuart, director, did set design and sound design (loved the music), and her other half Todd Stuart did sound editing and ran the sound board. Kyla Radaker-James did light design, and Caroline Homier ran the light board, along with stage managing with Britany Lawrence. Shannon Dunnigan and Kat Long handled costumes for the show. Ryan Brown, besides his lead role, was producer for the drama.

Production dates are January 15-17 and 22-24, with Fridays and Saturdays at 7:30pm and Sundays at 2pm. There is also a streaming option on January 23 at 7:30pm, if you prefer. Call 580-765-5360 for reservations, or purchase tickets at www.poncaplayhouse. com. Seating is distanced and masks are required. The Playhouse will take care of you, their patrons, just as they took care of their cast and crew through the rehearsal process. If you have any questions about their protocols, please call and ask. I am one of those people who has mainly isolated outside of work since March, and I was pleasantly surprised.

As director Sam Stuart said, “I think so many people will identify with some character in this play on some level. Maybe more than one…It’s easy to forget that someone else is just as lonely as you are. They just show it differently.” Don’t miss John Steinbeck’s drama on the Playhouse stage. I promise it will leave you both feeling and thinking.