This is bring-back time at Florida Studio Theater for Joe DiPietro’s popular Over the River and Through the Woods, and it’s well worth seeing a second time. It centers on young Italian-American Nick Cristano, who’s had dinner every Sunday with his aging grandparents. He has just been offered a major career advancement (the play’s inciting incident). Will he move away from family and to the job in Seattle?
It’s the early 1990’s. Nick’s parents have moved to Florida. His sister married and lives in California. Both sets of grandparents cling to the idea of “Tengo familia” or “I keep hold of family,” and so they set out to steady their hold on Matthew DeCapua’s loving but conflicted Nick.
Their plot to find him a fiance leads to a special (and especially funny) dinner with invited Caitlin O’Hare (appreciative Caley Milliken). So what if she’s Irish, in therapy like Nick, and a vegetarian? She’s sweet, a nurse, Catholic! Will she do?
Grandpa Frank Gianelli (Eric Hoffman, upholding the power of tradition) shows love in the form of sacrificing comforts. His wife Aida (appealing Rita Rehn) is a typical gifted Italian cook, infusing food with love. Nick’s parents, Andy Prosky as sensible Nunzio, and Marina Re as effervescent and fun-loving Emma, seem more than a little young for their parts but effectively embody their emotions.
All four grandparents so engulf Nick in self doubt that it actually sickens him. He’s condemned to be smothered (in summer, not just with blankets) in care and examples of their marital as well as corollary family love. For example, they exhibit cooperation and lack of competitiveness in a hilarious game of Trivial Pursuit. Who else also could supply Nick with Masses said for him or gigantic mailed lasagnas?
Everything is old-fashioned heartwarming, as reflected in the brightly lit Gianelli home and musical transitions. Costumes reflect each character’s personality, with those for Emma prettily adding to her flamboyance.
Director Kate Alexander doesn’t miss any opportunity for character definition. She also handles well instances of direct address to the audience, making them seem natural.
If, however, there is one thing the author could eliminate to advantage, it would be the too-long narrative wrap-up. There’s no need to end the play a second time by talking about offstage happenings; the first-time action was enough. Better, if elaboration seems desirable, to see the essential play again.
