The Light Inside is a 35 minute play with three actors with the narrative set in three different realms.

The first realm is a series glimpses into our protagonist Lily. (played by the deeply inpsired and very skilled playwright and producer of the show: Lindsay Wolf). Lily is a young girl in therapy sessions. Sessions that begin in early age, maybe 5 or 6 and progresses through early adulthood.

The second realm is Lily in her winter years. Rocking chair and sweater, with a photo album of joyous days and years past. Her loving husband Samuel pacing back and forth behind her muttering “Yes, dear.”

The third realm is a dance. A dream. The girl and some phantom boy, trying to engage, trying to be close, and in each repeatition of the dream they grow closer. Sometimes further away.

Something happened to Lily as a child. Specifics of it aren’t important, all we know is that she was abused by someone close to her. It’s hinted at early, perhaps as subtly as the playwright seemed to be able to muster. But as a focal point of The Light Inside, the audience needs to know: Lily is damaged, and can’t find her way out of the nightmares and the alienation that have come from it.

The “Elder” scenes however showed an old woman who could remember nothing but joy in her youth with her loving husband.

What bridged the gap between these two women? The dance-dreams hint at it, nudge us toward the answer through a series of silent steps. that gulf that at the end of the 35 minutes was filled with a comforting, inspiring revelation.

Lindsay’s performance as Young Lily, through three stages of her youth, growing up byt forever trying to eleviate her herself of the pain of her dark secret was marvellous.

Elder Lily, however was somewhat forced. With a grating, senility-tinged voice and her hunched, slowly pacing husband Samuel. It can be difficult for a pair of twenty-somethings to play octegenarians without it seeming like a mockery of old age. But in a brief, sweet play, we walk away from The Light Inside with the comfort that no matter how broken we may feel, there’s still the hope, and the determination that we can and we do get better.

Editors NOTE: It’s VERY IMPORTANT to support small community theater. Even when confronted with a “perfect storm” of bad PR.

By this I mean a Theater company called FRIGID, putting on a show at the end of winter in a black-box theater with bad heating. But it’ll be 50 degrees this weekend!! So get out there and support FRIGID