That said, it is with a big happy sigh of relief that I report that this exquisite new play, written by Bogard and produced by Wide Eyed, has made me feel that my decisions were entirely justified.
Noah’s Arkansas is a heartfelt drama about family, trust, and the all-too-brief time we have together on this planet; it’s possible to quibble about this or that decision, but Bogard’s script is solid, intelligent, funny, and often profound, and the production, under the steady hand of director Neil Fennell, is beautifully wrought. Noah’s Arkansas Review
The catalyst for the events in Noah’s Arkansas is the annual summer arrival of Michael, Wayne’s 14-year-old son. Michael lives during the school year in Tulsa with his mom (Wayne’s ex-wife), and reluctantly spends his summers with Wayne and Lizzy.
Michael is a troubled teen, and his appearance—a blue streak in his hair, a gold ring on his lip and a stud on his tongue—is only the surface indication of what’s going on with this sensitive young man: Wayne learns that Michael spent some time recently in a mental institution.
Jerrod Bogard builds the first two acts of his play masterfully, delineating the tense relationship between father and son; the outcome of Act II, which probes what it means to care for, to trust, another human being, brings us to intermission with full hearts.
And then the turn of events that Bogard presents in the final act both surprises and moves us, taking this story of fathers and sons to an even deeper, more fulfilling place. Read full Noah’s Arkansas Review >>