Ah, Wilderness! is the kind of classic play Asolo Rep does best and its present production even enhances that reputation. It’s Eugene O’Neill’s only comedy, an imagined 1906 family story that’s partly autobiographical. Mainly, though, it reveals the family he wished he had in a young, hopeful, rather innocent America. But just as Robert Lowell, another New Englander, created influential confessional poetry, O’Neill brought his always inventive genius here to establish coming-of-age drama. It centers on Richard Miller, an 18-year-old would-be writer, 18 year old Richard (genuinely embodied byTom Harney) scorns his family’s anticipation of 4th of July festivities. He’s yearning to be with his first love Muriel (pretty Lilianna Solum), to whom he’s sent letters full of relevant poetry. When her father, played as officious by William Dick, forbids Richard to proceed in his unconventional wooing, Richard—at the instigation of his more daring older brother Arthur (played by Joe Knispel)—seeks solace and “experience” at a local bar. Richard’s adventure involves alcohol and sex—well, kissing at least, mainly instigated by lady-of-the-night Belle (floozy Lisa Egan Woods). He’s encouraged by Chris Alexey Diaz’s Bartender, whom he over-tips, but gets thrown out after Mark Comer’s Salesman moves in on cooperative Belle. Back at home and sleeping off his binge, Richard must expect the worst from his mother Essie (sweet Denise Cormier), young brother Tommy (Ryan Modjeski), and sister Mildred (lively Kelsey Petersen). Aunt Lily (Peggy Roeder, reserved) can’t help thinking of Richard in connection with his uncle Sid Davis (Douglas Jones, outstanding feigning drunk or being sober). For years his alcoholism has made her refuse to marry him. What makes the big difference to Richard is a serious talk with his father Nat, conveyed in outstanding fashion by an embarrassed, then bolder David Breitbarth. Newfound courage next leads Richard to a crucial meeting with Muriel. All takes place under the influence of a grand summer moon and in a canoe! Steven C. Kemp’s flexible design gives all the scenes a flowered background with action taking place on a raked wooden stage. The family’s parlor and dining room are within a white, brightly lit abstract wooden frame, contrasting with the much darker, sleazy bar’s back room where Richard is initiated into the bad life. At the finale, the moon takes its time going down into the lake while darkness creeps over land and who and what are there. Costumes seem to be just as natural, illuminating traits pertinent to each character. Director Greg Leaming makes the action flow with ease. He creatively uses an ensemble of the younger actors to sing meaningful period songs at scene shifts. When some gather in the background and over to one side off the rake at a piano, they recall use of music for films in nickelodeons, a nice touch. By Asolo Rep’s well-integrated production, O’Neill is well served, and in those parts of his play that betray Richard Miller’s bitter experiences exists the O’Neill who revealed throughout his later life so many not-so-comic aspects of the American character.
