Review: BRIGHT STAR at Temple Theatre

Inspired by the story of the Iron Mountain Baby, Bright Star follows literary editor Alice Murphy as she reconnects with her past after meeting a young World War II soldier with literary dreams. Set across North Carolina in the 1920s and 1940s, the musical explores love, loss, redemption, and the enduring pull of home. When I first saw Bright Star on Broadway a decade ago, North Carolina was mostly unfamiliar to me. Revisiting the show now, living in the Triangle and hearing references to Asheville, Raleigh, Durham, Zebulon, and Chapel Hill woven throughout the story, made the experience feel entirely different. It feels especially fitting that this Temple Theatre production is built largely from local North Carolina talent, from much of the cast to the onstage band bringing Steve Martin and Edie Brickell’s bluegrass-folk score to life.

The person I attended the show with, an NC native, especially connected with the community dance scenes, which reminded her of celebrations she grew up around. That sense of place and familiarity is all over this production. There is a warmth to it that feels distinctly Carolinian, not in a forced or overly performative way, but in a way that feels genuine. That authenticity is clearly understood by Director and Choreographer Galloway Stevens, himself a North Carolina native, whose staging leans into both the intimacy and communal spirit sitting at the heart of the story.

Stevens’ direction and choreography are thoughtful and emotionally grounded throughout, with several moments standing out visually. “I Can’t Wait” makes particularly effective use of lanterns, surrounding Alice in warm light before transforming into harsh spotlights as the adult men in her life begin imposing their expectations onto her. “Please Don’t Take Him” is another especially powerful sequence, staging Alice alongside the women of her family while the men physically overpower the space, creating an image that perfectly reinforces the emotional imbalance of the moment.

At the center of it all is Carrie Lyn Brandon as Alice Murphy, who commands the stage from the moment she appears. Her voice has a beautiful cadence perfectly suited for the score, effortlessly gliding between the folk storytelling and the more emotional ballads. Alice requires an enormous emotional range, shifting between a rebellious, spirited young woman and an older version weighed down by grief and regret, and Brandon captures every note of that journey. Her physicality is particularly striking. Every glance and posture change communicates exactly where Alice is emotionally, from lovestruck teenager to a woman haunted by the past.

Matthew J. Staley’s Jimmy Ray Dobbs matches Brandon well and brings a sincerity that makes the relationship believable throughout its many phases. While I occasionally wished he leaned a bit further into Jimmy Ray’s cockier playfulness edge early on, Staley is still thoroughly charming, particularly during the standout dance number “Whoa, Mama,” which had the audience visibly wanting to jump up and join the fun.

Andrew Goins and Allison Podlogar are incredibly endearing as Billy Cane and Margo Crawford. Their dynamic brings a sweetness and gentleness that balances some of the heavier emotional material elsewhere in the show. Goins’ towering height compared to the rest of the cast becomes a charming visual motif throughout, especially during moments in the bookstore where Podlogar’s Margo finds herself elevated on ladders just to meet him eye-to-eye.

There is also something particularly special about seeing Podlogar on Temple Theatre’s stage, having first performed there at just eight years old. Returning now for her first professional production gives her performance an added sense of homecoming that feels perfectly aligned with the themes of the show itself.

A major highlight of the evening was Stephen Chambers as Daryl Ames. Chambers has an incredible command of physical comedy and consistently drew some of the biggest laughs. His chemistry with Laura Pearson’s Lucy is fantastic, making them feel like longtime partners in crime. Together they lead “Another Round,” one of the show’s most entertaining numbers and another huge crowd-pleaser.

The incorporation of the live band onstage adds so much energy to the production. Their presence never fades into the background. Instead, they become part of the heartbeat of the show itself. It was also wonderful seeing several musicians pull double-duty as townsfolk, further reinforcing the sense of community woven into the production. Under Musical Director Gavan Pamer, the music sounded excellent, with the ensemble and band staying beautifully locked together.

The production design overall works beautifully within Temple Theatre’s historic former vaudeville house. The scenic design utilizes a simple frame structure that fluidly transforms between homes, bookstores, and mountain locales, all set against the backdrop of the Blue Ridge Mountains. David Castaneda’s lighting design is especially striking against those mountains, shifting colors to reflect the emotional tone of each scene. The deep reds closing out Act One are particularly haunting and beautiful.

More than anything, it is clear how much care has gone into this production. Under Producing Artistic Director Peggy Taphorn, Temple Theatre has crafted something heartfelt, polished, and deeply connected to the community around it. By the end of the night, the audience was on its feet, and deservedly so. Temple Theatre is a bright star in Sanford, and productions like this make it easy to see why.

Reader Reviews

To post a comment, you must register and login.

Need more Raleigh Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...