The Hatmaker’s Wife

NOVA Nightsky Theater

Photo credits: Nate Eagle

Absolutely nothing could be worse for Hetchman the hatmaker than losing his favorite hat. 

Little did he know, the journey to recover it might not just save his head--it might rekindle the dying sparks of love. 

The cast and crew of “The Hatmaker’s Wife” put on a poignant rendition of this sweet, surreal story. With a fairytale-like quality and magical moments abound, NOVA Nightsky Theater’s latest production was a wondrous exploration of home, family, and the true meaning of love.

Plus, who doesn’t love a giant golem made of trash?

The Hatmaker’s Wife

Written by Lauren Yee, “The Hatmaker’s Wife” first premiered Off-Broadway in 2013. The production was directed by Rachel Chavkin, the powerhouse director behind Hadestown and Natasha, Pierre, and the Great Comet of 1812. AKA an absolute girlboss.

The play follows two storylines that ultimately intersect: that of a young couple moving into their new home, and of an older hatmaker and his wife. The young woman is led to uncover the story behind her house’s former inhabitants, and soon we follow Hetchman the hatmaker--a modern-day Scrooge--just as he loses his favorite hat. Unbeknownest to Hetchman, his wife has stolen it, longing for a hat of her own, and sends him on a wild goose chase to get it back.

Well, less of a wild goose chase, and more like the desperation exhibited by a couch potato. You know, snacking on some cheetos and lamenting to a pile of trash. Luckily for us, Hetchman eventually finds himself struck with inspiration, and whisks down a rabbit hole of memories, discovery, and love.

I was incredibly charmed by NOVA Nightsky Theater’s production. Director Jessie Roberts really leaned into the show’s whimsical factor, while also doing an incredible job navigating its emotional peaks. She expertly brought out the story’s Jewish underpinnings, and crafted a beautifully relevant production. “The Hatmaker’s Wife” read like a charming, classic folktale: the type of show that makes you want to grab a warm cup of tea and a cozy blanket during intermission.

Let’s get into the meat and potatoes of this review, shall we?

This Production

At my viewing of “The Hatmaker’s Wife,” I had the pleasure of seeing understudy Felisha Cuenca portray the young woman, also known as “The Voice.” Cuenca approached the whimsical production with grounded energy, which kept us refreshingly rooted in the reality of the present. Scott Stofko, who played her boyfriend, Gabe, had an easygoing nature that contrasted wonderfully with Cuenca. Even still, Stofko leaned into palpable moments of frustration later in the show, which built to a gripping, emotionally-charged doorslam as he left the house in turmoil.

Back in the earlier days of the Hetchman home, Frank Gorrell portrayed Hetchman the hatmaker, and sat permanently slumped in his cushiony armchair. Gorrell was positively curmudgeonly: in every lift of his eyebrow and corner of his plastered frown, it was clear Hetchman wanted nothing to do with the world beyond his television screen. By the time he learned to appreciate the things around him, Gorrell completely transformed Hetchman’s crankiness into an outpour of love. Barbara Jo Gertzog stepped into the shoes of Hetchman’s Wife, and immediately exuded female power. Her journey to take independence from her husband was liberating. Still, it was impossible not to be swept away by the couple as they delicately waltzed around the stage, stitching the fabric of their relationship back together. 

Tom Flatt assumed the position of Meckel: Hetchman’s best friend and complete opposite. Flatt was jovial with every hearty chuckle, and took great care in delivering crusts of wisdom to the audience. With a sort of otherworldly intelligence, Marsha Rehns stepped up to the plate in her role as Wall. Yep… the walls of the Hetchman home could speak, and Rehns imbued each nugget of truth with a sense of wonder.

With all that being said, Renée Wolfe and Adam Ressa masterminded perhaps my favorite sliver of magic: the mighty trash golem. Wolfe manipulated Ressa’s life-sized puppet with an expressivity reminiscent of Little Shop of Horrors’ Audrey II, complete with a pink-socked arm for the creature’s tongue. The exterior of the puppet was decorated with chip bags, candy wrappers, and discarded packaging galore: a treasure trove of lost things. Maybe even the building blocks of a friend?

Dan Widerski’s scenic design brought the Hetchman house to life, straight down to its perfectly tacky wallpaper. Every surface was decorated with Sabrina McAllister’s unique jars, and each one radiated with a magical glow: a hint of the treasured memory inside. Paul DiSalvo’s lights were integral in distinguishing the two different tales taking place, and added yet another layer of whimsy to each scene--like a series of colorful flashes to simulate the action of a television screen. Finally, Nate Eagle’s sound design patched the fabric of the story together. From the hat’s enchanting melodies to the golem’s skillfully-timed burps, Eagle rounded out the tale with a fantastical quality.

Who is it for?

For any wondrous minds who are willing to suspend disbelief, “The Hatmaker’s Wife” provides an enchanting tale of love; lost and found. While certainly peppered with some spicy language, it’s a story that rings true for audiences of all ages, and one that I would highly recommend. 

The show was a swift 90 minutes, and impressively paced--I never once felt taken out of the story. Some of my favorite productions are ones where I’m so immersed, I can’t even tell when intermission’s coming until the lights flick on. 

“The Hatmaker’s Wife” runs until September 27th the Falls Church Presbyterian Church. Don’t wait around to purchase your tickets before it closes!

Visit novanightskytheater.com for more information.