USF’s DEAR JACK, DEAR LOUISE takes Storytelling to New Level

CEDAR CITY — After witnessing the beauty, depth and romance of Utah Shakespeare Festival’s production of Dear Jack, Dear Louise, two things are immediately clear. First, this is an absolute must-see production at the Festival this season. Second, as a society, we should really go back to writing letters.

Based on the parents of playwright Ken Ludwig, this beautiful story of love and heartache comes to life through a series of letters exchanged by Jack Ludwig and Louise Rabiner in the early 1940s. Although the two have never met, Louise is encouraged by her parents, who are acquainted with Jack’s parents, to write to him while he is stationed with the US Army in Medford, Oregon. From her place in New York City, the aspiring actress Louise reaches out via paper and pen, resulting in her and Jack soon becoming pen pals, then friends, and then even more.

On paper, this theatrical concept could be viewed as somewhat pedestrian. After all, the entirety of the performance consists of only two actors on a single set design. The actors never truly interact with one another – never so much as make eye contact on stage – while they vocalize the words of the letters they exchange. But there is a magic in the execution of this concept that simply has to be seen to be understood.

Performed in the intimate Eileen and Allen Anes Studio Theater and stripped of some of the spectacle that is often found in today’s theatre world, few productions can boast the kind of raw, inspiring acting on display at the hands of John DiAntonio as Jack and Caitlin Wise as Louise.

The actors, who are married to each other in real life, produce a palpable on-stage chemistry, and a light, easy way of connecting that feels almost effortless. As individuals, Wise’s character exudes high-energy and emotion, which is a lovely complement to DiAntonio’s more reserved version of Jack. However, each showcases their own passion for life and, eventually, for each other.

Their generous acting, combined with Ken Ludwig’s powerful writing and the skillful direction of Michael Perlman, carries the audience on a wave of emotions, cresting with the exuberance of the couple’s growing relationship. The emotional crash to the depths of anguish comes when everything the pair has built through their letters seems to hang in the balance.

Small details, like Louise’s habit of grabbing a treat from a jar and eating when she is stressed, and the genuine horror on Jack’s face when he learns that Louise will be subjected to a gathering with his extended family, including his 11 aunts, are as hilarious as they are relatable. Their enthusiasm and fervor are shown at times when the letters pile on top of one another so quickly that it almost feels as if they are having a conversation in real time. However, an equally powerful element is Perlman’s directorial decision to allow space for quiet moments, creating tension in the silence and leaning into the reality that sometimes letters take time to arrive, especially when the country is at war.

The singular set design on which the story unfolds is well thought-out and offers nuggets of information to the observant eye, thanks to scenic co-designers Ben Hohman and Marielle Boneau. While Jack and Louise’s living areas, consisting of a bed and a desk, are separate, the bookshelf backdrop connects their two worlds and the intermingling of items related to each character offers a bit of foreshadowing, as well as providing unique places from which the actors can pull various letters as they arrive.

In a production that aims to tell a larger story of a country on the verge of war, and a love story that is begging to burst from the confines of the written page, it is through the sound design by Melanie Chen Cole that major strides are made. Battle zone sound effects and the sounds of a crowded Times’ Square elevate what the audience is seeing visually and allow the viewer’s imagination to really take hold. But once again, it is in the striking silence that some pieces of the story are really told.

The only criticism of this impeccable production is in the spoiler that is shared in the opening sentence of the playbill synopsis of the show. Kudos to the pre-show orientation for not revealing this specific detail, and fair warning if you would like to hold onto the suspense building throughout the show. I would recommend skipping the written synopsis and instead, feel free to sit back and let the story of Dear Jack, Dear Louise beautifully unfold in front of your eyes.