Bas Bleu production of Horton Foote’s play is a delicate interplay between time and memory.

I’m always excited when I get to see a show at Bas Bleu Theatre in Fort Collins, because I never quite know what I’m going to get. Their productions run the gamut from avant-garde experiments to wholesome crowd-pleasers, while consistently making creative use of their intimate black box space. The theatre’s latest offering, Horton Foote’s 1953 play The Trip to Bountiful, directed by Warren Sherrill, leans toward the more traditional side of their repertoire. It’s a nostalgia-tinged slice-of-life that will resonate with audiences looking for a gentle, heartfelt evening of theatre.

Wendy Ishii and Mark Collins. | Bill Cotton Photography

Character-driven drama

The story follows Carrie Watts (Bas Bleu co-founder Wendy Ishii), an aging woman trapped in a cramped Houston apartment with her devoted son Ludie (Mark Collins) and her overbearing daughter-in-law Jessie Mae (Blair Carpenter). Carrie yearns to return to Bountiful, the small Texas town where she grew up and which she hasn’t seen in 20 years. Unfortunately for her, Jessie Mae — played with sharp comedic timing by Carpenter — keeps putting roadblocks in the way. Jessie Mae’s controlling behavior provides a biting commentary on the way society often undermines the autonomy of the elderly, infantilizing and dismissing their desires.

Ishii brings a palpable ache to Carrie, making her longing feel not just like a wish, but a necessity. She doesn’t just want to see Bountiful before she dies — she has to. Her journey, both literal and emotional, is the beating heart of the play, and Ishii’s nuanced performance captures both the fierce determination and the deep vulnerability of her character. Along the way, she meets Thelma (Elisabeth Larson), a kindhearted young woman who is also traveling home. Their easy rapport adds a tender, intergenerational connection that provides a contrast to Carrie’s fraught relationship with Jessia Mae.

This is a story that finds beauty in the quiet moments, with themes of family, mortality and the pull of home. The subtle, slow-paced nature of the narrative might not appeal to everyone, and it does occasionally veer into mawkishness. While the first act drags, the second finds its footing, especially with Ishii’s moving monologues that breathe life into Carrie’s yearning. Despite some maudlin tendencies and uneven pacing, those who don’t mind a slow burn will enjoy this character-driven drama.

The set design is minimal yet effective, embracing the understated nature of the play. A single bench stands in for an entire bus scene, keeping the focus on the performances rather than elaborate visuals. The lighting and sound design follow suit, subtly supporting the action without overshadowing it.

Time and memory

As we follow Carrie’s journey back to Bountiful, the play gives us space to reflect on our own connections to the places and people who shaped us, and the delicate interplay between time and memory. Through its thoughtful performances and quiet sincerity, this production is a bittersweet reminder that while we may yearn to return to the past, we can never really go home again.