‘Almost, Maine’ is Almost Perfect
Love is never simple—and in Domino Theatre’s production of Almost, Maine, directed by Sandie Cond, it’s often downright messy. This heartfelt and frequently hilarious exploration of falling in and out of love is set in the fictional small community of Almost, Maine. The play spans eight individually titled vignettes that unfold over the same ten-minute period, giving us glimpses of touching, romantic, and heartbreaking moments. Strangely, by the end of the performance, I found myself feeling more connected to my own community, quietly reminded that, even in the most ordinary places, the people around us are carrying their own moments of love, loss, and transformation, whether we see them or not.
The production does a commendable job capturing the humour and heart of John Cariani’s script, balancing campy, almost absurdist comedy with moments of grounded, emotional depth. As the show progresses, it becomes apparent that while the comedy mostly hits its mark, some scenes rely too heavily on humour. In a few vignettes, a more solemn approach could better serve that scene’s emotional beats.
The prologue and epilogue, featuring Pete (Tristan Euringer) and Ginette (Heather Hayhow), struggle to find that balance. Their story feels disjointed and the transition from the prologue into the following scene, Her Heart, leads to confusion—Hayhow begins playing a different character without a clear distinction from the previous one. This muddles the emotional throughline and left several audience members, myself included, unsure of how these moments connected when ultimately, they didn’t.
Cond’s direction keeps the pacing brisk and the performances largely authentic to the setting (set design by Chris McKinnon). The stage is cleverly divided into three distinct spaces, two porch/interior areas and an outdoor space, which works well for the fast-moving scenes. However, clearer boundary definition would have helped maintain the illusion of separate locations. In Sad and Glad, for example, the characters Lendall (Tristan Euringer) and Gayle (Jen Buder) are meant to be tucked away in the cramped back corner of the Moose Paddy Bar, established by a raised platform. When they step down and move into the open center stage, a space consistently used for outdoor scenes, it disrupts the sense of an enclosed, crowded bar. This shift blurs the spatial logic of the world and breaks the intimacy of their interaction.
What does remain consistent is the show’s visual atmosphere. One of the production’s most striking elements is David L. Smith’s lighting design, which beautifully captures the Northern Lights dancing across the backdrop. The recurring appearance of the lights at the end of each scene serve as a gentle reminder of the shared timeline and add a touch of magic to the show. I only wish the scene-ending tableaus had been held longer to let the beauty of those moments fully sink in.
With eight scenes and eight actors, each performer portrays multiple characters throughout the show. Getting It Back emerged as a standout scene thanks to Rachael McDonald and Lloyd Balme’s ability to marry high-camp comedy with raw, heartfelt emotion. I had dragged my fiancé, who has repeatedly told me he is “not a theatre guy”, to Almost, Maine. During McDonald and Balme’s vignette, I glanced over and saw him quietly sobbing to himself. Later, during the car ride home, he admitted that the scene hit him harder than he expected—the vulnerability and honesty of the characters reminded him of moments from our own relationship. Seeing his emotional reaction made the night’s experience even more special and personal for both of us and reminded me, once again, of the power of live performance.
Domino Theatre’s production of Almost, Maine showcases the depth of talent in Kingston’s theatre industry. While a few adjustments could refine and elevate the show even further, its humour, heart, and moments of genuine connection make it a production well worth seeing.
Domino Theatre’s production of John Cariani’s ‘Almost, Maine’ runs until Saturday, March 22, 2025. Tickets and more information can be found here.
