I’ll put this right upfront: I’m not a country music fan. That didn’t stop me from thoroughly enjoying From Honky Tonk to Protest: A Woman’s View of Country Music onstage now at D’Youville Kavinoky Professional Theatre (note the new variation on the name, please).

Conceived by the theatre’s Executive Artistic Director Loraine O’Donnell, this show is part juke box musical, part survey of the genesis of American country music, and part women’s history retrospective with a healthy dose of social justice. And it is just plain fun.

This was a pandemic passion project for O’Donnell who spent part of that time in her hometown of Boonville, NY, with her dad in his last months of life. More time spent in rural Adirondack foothills drew her to country music. She began to appreciate the deeper nuances of the lyrics and the people who penned them. She learned, too, that women played a relevant role in the genre…even when they were marginalized by good ol’ country boys.

O’Donnell  assembled a stellar production team to unite many moving parts, plus a great line up of musicians, actors, and dancers to bring her vision to stage.  There is a lot going on here.

First, the band.  Dee Adams – musical director, singer, guitarist, and mandolin player – has a great, tight group. Kathryn Koch (guitar, harmonica), Helen Butler Ceppaglia (violin, accordion),  Elton Hough (drums, a real kit, mind you),  John Martz (steel guitar, banjo, dobro),  and Charlie Gannon (stand up bass, electric guitar) have the sound.  I loved how costume designer Andrea Letcher drove home one of the shows key messages by dressing the men in black and the women in vibrant traditional cowgirl fringed dresses. Her recreations of Shania Twain’s decidedly non-traditional Country costumes were spot on, too.

Then, the singers. O’Donnell is the narrator and lends her big beautiful voice to Dolly Parton’s iconic “Jolene” and the wistful  “I Hope You Dance.” Adams and Koch come center stage to perform country standards “Crazy” and “Harper Valley PTA.”  Renee Landrigan, doubling on keyboards and melodica, is a kick singing Loretta Lynn’s “The Pill.”  But my oh my, it’s Annette Daniels Taylor who gives these country tunes their soul.  She’s both powerful and tender in her storytelling and singing and her “Down to the River to Pray” was passionate and moving. Drummer Hough stepped out from the kit and picked up an African drum to accompany her.

Lynne Kurdziel Formato is the director/choreographer, and she had folks moving to and fro on stage and a trio of dancers on videotape in a variety of local places. Dancers  Aurora Hastings, Christina Tribo, and Evan Matthew Stuart share Zodiaque Dance Company roots among their bone fides. They rock the Company’s  angular, contemporary frame  that gave an interesting juxtaposition against the show’s contemporary Country pieces especially in the second act. Brian Milbrand used the stage screens to full advantage with some historic photos and lots of interpretive dance interludes. Regrettably, some of the dance numbers that were “green screened” to appear happening in rushing waters looked a bit odd and not well connected to the narrative.

While there were some gaps in the history – notably missing was Tammy Wynette, often called “The First Lady of Country Music,” June Carter and Mother Maybelle Carter, and the entire 1980s decade (O’Donnell acknowledged this and said it’s coming in the sequel) – the personal storytelling and musical selections really drive home O’Donnell’s key points about women in the industry and social justice.

Most importantly, this was a love letter to O’Donnell’s late parents and a poignant reminder that sometimes the music we hear in our youth will sound very different to us again as time marches on.

It’s worth noting that D’Youville has invested in some truly lovely upgrades to the theatre over the past few seasons and it looks spectacular. New seats are bright and cozy. No more physical tickets or playbills (find it online here) and required face mask on campus) should make all theatre goers feel comfortable. One more thing: if you wear one of those over-sized signal watches that illuminates every time you get a text or an email, please tuck it under your sleeve or turn it off. It’s as bright as a cell phone and is super distracting to those around you. (And I mean you, lady who was in the middle of my row the other night.)

From Honky Tonk to Protest: A Woman’s View of Country Music is on stage until October 3.  It’s a toe-tapping two hours with a 15-minute intermission. Visit www.kavinokytheatre.com for details and reservations.