The Great Work Begins Theatre Troupe moved to an intimate space downtown, Ear in the Envelope, 820 SW Adams St., to present Don Nigro’s ‘70s era play “Seascape with Sharks and Dancer.” It was well performed by Andrew Jon Rhodenbaugh and Rebecca Dentino. It is a small play, well suited to the space; and director Cody Cornwell staged the action with clarity and kept out of the way of the actors and the storytelling. The production also gives hope that more small performance spaces will open up in the Warehouse District that the city has spent so much time, money and energy developing. In my opinion, it will be small venues and creative energy that will bring people back to the downtown.

The troupe’s name is from a line in Tony Kushner’s sprawling play in two parts, “Angels in America,” which won Tony Awards for Best Play two years in a row since each part was premiered during two consecutive seasons. Kushner’s play was the theatrical event of a generation because he took on huge themes of sexuality, politics, religion and public policy in the Reagan years and the pathetic response to public health policy during the early years of the AIDS epidemic.

Seascape is not so ambitious, not many plays are, and the focus is on the small interactions of two lost souls trying to find a way to connect after each has been bruised in life. In this regard, the play is mainstream as most American plays of the post World War II era are content to focus on the trials and tribulations of family and relationships.

Cornstock ended its summer season with a regional premiere of an adaptation of Alice Walker’s popular novel “The Color Purple.” I remember sitting at the Steven Spielberg film with a heavy chest as the story of oppression and terror was told.

Cornstock directors Molly Burroughs and Sharon Reed have found a very talented cast for this musical adaptation, and the choral singing is balanced, blended and finally stirring. In the lead role of Celie is Gabrielle Lott-Rogers who was so very good as Dorothy in “The Wiz” a few years ago. Here she is in good voice and with a riveting presence that is at the center of the story. Playing beside her is Ayana Pankey as the juke-joint singer Shug. Mrs. Pankey lights up the stage with her big number in Act 1, “Push Da Button.” Veteran actor Sammie Hardimon is successful in the difficult role of the abusive Mister. The story is set in the Jim Crow south in the 1930s. In strong and intense scenes of acting and music, it shows us the results of post slavery oppression on the African American community and especially on women.

Cornstock produced two plays this summer with all women directing teams each centered on southern sisterhood. The first was “The Dixie Swim Club” about white college girls and their lives and friendships over the years. “The Color Purple” is a story of sisterhood among uneducated women and how, through their love and caring for each other, they are able to survive. Celie’s song in Act 2, “I’m Here,” well done by Ms. Lott-Rogers, is a testament to survival.

The production is the result of hundreds of hours of effort by the cast, crew and producing group. It was a shame they did not get the technical support they deserved from the sound operators. Cornstock has spent thousands of dollars on their sound system and with decidedly mixed results. The directors should not be in the position they were during the final dress rehearsal of trying to figure out how to get the system mixed to the right level. That assistance should be provided by the volunteer staff at Cornstock. Many theaters use small radio microphones to augment sound to help old ears hear better, but the technology always needs to be managed for the success of actors and singers and not a source of frustration for the audience. This past season at the tent has had one show after another with weak sound amplification. Since Cornstock has gone to a four-musical summer season, it is all the more reason to give patrons good audio to be able to understand the song lyrics.