Review: Early One Evening at the Rainbow Bar and Grille

Review: Early One Evening at the Rainbow Bar and Grille | Bailey Theatre Company | Curtain Up | Eric Fitzgerald

Bailey Theatre Company’s Early One Evening at the Rainbow Bar and Grille, directed by Adam Cannon, brings Bruce Graham’s end‑of‑the‑world barroom to life with a steady, unfussy touch. The play carries plenty of weight—mortality, regret, the possibility of a do‑over—and this production doesn’t dodge any of it, even as it leans into Graham’s dry humor and everyday banter. Cannon keeps the attention squarely on the characters and their last‑day reckonings, letting that heaviness sit without dragging the evening down.

As the world outside tilts toward catastrophe, the Rainbow Bar and Grille becomes a strange little refuge where Shep (Bill Bruner) tries to keep the night moving while Roy (Allistair Basse) frets over unfinished repairs, Virginia (Lauren Coe) storms in demanding accountability, Willy (Roland Graham) prowls with jumpy bravado, and Shirley (Katt Howard) quietly sorts through her own end‑of‑the‑line priorities. Into this uneasy mix drift Bullard (Johnathan Underwood), a salesman with more charm than answers, and Joe (Sky Michaels), whose sudden, unsettling propositions shift the room’s energy. Over one charged evening, their conversations, confessions, and collisions sketch out who they are when the future has run out—leaving Shep to decide what matters in the last place anyone expected to gather.

Adam Cannon’s direction keeps the production tight and contained, working cleanly within the Glen Isle Resort’s very limited playing area. His approach is straightforward rather than elaborate, shaping the action with pared‑down clarity that suits both the script and the space. Cannon leans into the room’s intimacy, letting the actors drive the tension and humor without relying on extra staging flourishes, giving the evening a focused, close‑quarters immediacy.

Bill Bruner’s return to the stage after a twenty‑year absence is easily the evening’s heart. As Shep, he brings an easy, lived‑in presence—steady, assured, and quietly engaging. Bruner has been the artistic force behind Bailey Theatre Company for the past seven years, and he’s clearly at home onstage. His performance is solid throughout, and after seeing him here, it’s hard not to hope he doesn’t wait another two decades before stepping back into the spotlight again.

Laura Coe & Bill Bruner | Photography Credit: Sue Ryan Photography

The supporting cast brings a sharp mix of tension and texture to the Rainbow Bar and Grille. Allistair Basse gives Roy a restless, buzzing charm that never quite settles, a man vibrating with unfinished business. Lauren Coe’s Virginia arrives like a spark hitting dry tinder — forceful, pointed, and carrying more emotional weight than her fury initially suggests. Roland Graham keeps Willy coiled and unpredictable, a presence that makes the room feel slightly off‑balance. Katt Howard’s Shirley pops with a brighter, more alive presence, her precise shifts adding just enough spark to unsettle the room.

The late‑night arrivals shift the tone in welcome ways. Johnathan Underwood leans into Bullard’s salesman gloss, letting the charm sit just crooked enough to show the cracks underneath. Sky Michaels brings the night’s most destabilizing energy; his Joe is calm, odd, and a little dangerous, reshaping the room with every line. Together, the supporting ensemble keeps the play’s tension taut, each performance clean, specific, and aimed exactly where it needs to land.

L to R: S. Michaels, J. Underwood, B. Bruner, L. Coe, K. Howard, R. Graham, A. Basse | Photography Credit: Sue Ryan Photography

Allen Jones’s set design makes smart use of the small space, keeping the focus on the actors while still giving the bar a lived‑in feeling. Johnathan Underwood’s costumes suit each character with easy, intuitive precision — the kind of choices that tell you who these people are before they speak. Bri Angle’s lighting is solid throughout, even if occasionally constrained by the equipment the company has access to. Rick Reid’s sound design adds clarity and texture without ever overwhelming the room. And Stage Manager Heidi Baker runs the theatre with real authority; her command shows in the pacing, the transitions, and the overall confidence of the performance.

The Bailey Theatre Company’s production of Early One Evening at the Rainbow Bar and Grille, directed by Adam Cannon, benefits from a fully engaged ensemble that keeps the night sharp and uneasy in all the right ways. It’s the kind of small‑space mountain staging that reminds you why these companies matter — committed work, clear choices, and a show that earns your attention. And yes, it’s absolutely worth the hour drive into the mountains to catch it before it closes on October 18.

For Information and Tickets: https://www.onthestage.tickets/show/bailey-theatre-company/6915ff6d87adcd05dbc2f9c0/tickets#/productions-view