In the Dream Ballet I found an unearthly joy to behold with an ensemble of ballet and can-can dancers and a male dancer (Derek Martin, also the choreographer) who cleverly substituted for Curly. When the cast arrived at the Skidmore’s box social for the lively “The Farmer and the Cowman,” I thought for sure the square dancers and stunt fighters would fly off the stage. Every little timed beat in this play was taken advantage of and choreographed, including having the ensemble bounce or sweep to the beat instead of just standing there while someone else sang a solo. The entire cast of principals and townspeople danced, sang and delivered dialogue together in such perfect sync and harmony that I began to think in no way was this an amateur college production. Even the stage crew had the precision and speed of a well-oiled machine.

A quick pace was the method used by intuitive director Jennifer Martin, leaving nary a dull or empty moment in the play, which certainly made it a whirlwind of delight. I was also pleased to discover that all the “hells,” “damns” and sexy movement were kept in the show, leaving out none of the racier language or subject matter from the original script. The scenery not only had a charming Western theme, it also displayed eye-catching little touches such as an old windmill and a backwards-facing raised fencepost sign saying “Skidmore Ranch.” Costumes and makeup were simple and classic. Properties were both unique and authentic, from lanterns, ropes, saddles and pie trays right down to the “Little Wonder” and Ali Hakim’s barrel-chested elixir cabinet.

I saw no slackers in this production. The entire cast, crew, directors and house staff were on board as they worked together like a team of professionals. Did I just see a Broadway show?