“Rocket Man” makes you feel, but does not ask you to understand

By DANIEL SHOCK
A Seat on the Aisle

Theatre has become my church – a personal sanctuary where I find community, reflect on life’s bigger questions, and sometimes find myself drifting off into thoughts sparked by intriguing ideas.

The Hyperion Players’ thoughtful and insightful production of Rocket Man, written by Steven Dietz and directed by Daniel Maloy, tapped this idea squarely on the nose. Like a good sermon, it pulled me into reflection – not out of boredom, but because it had something to say. The play invited me to view my own life through the lens of the lead character, imagine different choices, only to suddenly snap to attention as I realized that, indeed, I had a review to write.

At its center is Donny (Bailey Hunt), a divorced father and disillusioned surveyor who once dreamed of becoming a landscape architect. Something in him has stalled. We find him at a self-imposed crossroads, having dragged all his possessions onto the lawn beneath a sign that reads, “Here’s my life. Make an offer.” He’s carved a skylight into his attic, positioned his recliner beneath it, and now stares upward – searching, perhaps, for stars … or an escape hatch.

The attic becomes a place of reckoning. Donny is visited by those closest to him: his ex-wife Rita (Isabel Hunt), his teenage daughter Trisha (Amelia Bostick), his lifelong friend Buck (Greg Fiebig), and his co-worker and seminary student Louise (Lauren Taylor). Each brings their own baggage, their own questions, and their own history with Donny into this strange, reflective space. Then, in Act II, the play takes a surprising turn. I won’t spoil it. It’s better to not see it coming.

Rita (Isabel Hunt) with ex-husband Donny (Bailey Hunt). (Photo by Rob Slaven / IndyGhostLight.com)

Bailey Hunt is grounded and empathetic as Donny. He’s not performing a midlife crisis caricature – he’s quietly unraveling, piece by piece, in ways that are heartbreakingly human. Isabel Hunt makes an impressive stage debut as Rita. There’s no sign this is her first time out – she’s natural, honest, and avoids the trap of playing Rita as just angry or cold. It’s a smart, grounded performance. Greg Fiebig as Buck provided warmth and humor, anchoring the emotional heart of the show effectively – even as his character revealed he is hearing voices and has decided to heed their call. Amelia Bostick’s Trisha delivers the teenaged volatility of a daughter who mostly resents her father, yet sometimes longs for him. Her presence feels emotionally lived-in, not performative. And Lauren Taylor is excellent as Louise, surveyor and seminarian who can’t sleep. She is a woman who is both moving on and tethered with a real-world weary outlook.

Maloy’s direction is deliberate and sensitive, allowing the emotional currents of the play to unfold naturally. His director’s note encourages us to look for meaning in the present – an idea that echoes throughout the production. He trusts his cast and the text, and that trust pays off.

Technically, the show is minimal but meaningful. The attic set is wonderfully realized: an archeological dig of Donny’s past, full of forgotten objects and unspoken memories. Scenic design by Greg Fiebig provides just enough realism to anchor the story, while Natalie Spoerle’s lighting and Zach Catlin’s sound design give us just enough atmosphere. Together, they lend the attic a mood that’s wistful, offbeat, and gently mysterious.

What stands out most is how deeply Rocket Man makes you feel – without demanding that you understand every moment. It asks questions that I don’t think it answers. But, I’ll be asking myself those questions for the next few weeks as I ponder where I want my life to go. Recommended.
Rocket Man runs through June 1 at Switch Theatre in Fishers. Tickets and info at HyperionPlayers.com.

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