Rob Morrison, Isaiah Tyrelle Boyd, Robert Cornelius, and Rachel Fobbs Photo by Mikki Schaffner

At first glance, Jean and Jonah seem very disparate. The father is romantic, idealistic and poetic; his son is gay, pragmatic and sardonic. Their challenges around connection seem apparent. But as they make their journeys, parallels are revealed, especially through the songs. Director Timothy Douglas told me in a July phone interview, "It's not a play, it's not a musical." He preferred to term it "storytelling" and suggested, "The evening is really a meditation, in no way a traditional play."

"Meditation" is indeed a good way to describe this production, which is enhanced by several design elements. Set designer Tony Cisek has created a wall of diagonal, rough-hewn barn siding, with a slash that might be considered a dividing line between the "mountain" and the "sea" of Agustin's title–as well as, perhaps, the circuitous path Jean and Jonah follow in their journeys across the United States.

Lighting designer Harold F. Burgess II has illuminated that slash, which actually surrounds all four of the Rosenthal Shelterhouse Theatre's upper walls. Its color changes with the emotions of the moment, from a placid blue at the beginning when Jean sings "Sonjé M (Remember Me)" as he bids farewell to a lover in Haiti, and then to warm orange at other moments, including the heartfelt duet "Oh My Love" that concludes the 80-minute performance.

Burgess's lighting also heightens the individual inner thoughts of the characters and sometimes draws attention to the musicians who also provide evocative sound effects. Morrison (also the production's music director) plays guitar, banjo, and a small keyboard; Fobbs uses an array of percussion devices including Caribbean drums, a rain stick, clickers, and a tiny wind chime. They also support the actors' singing of other musical numbers, especially "I Was Too Late."

Under Douglas's sensitive, aesthetic direction, Where the Mountain Meets the Sea blends all these elements into a mélange of sounds and images, resulting in a perfect environment for the storytelling of these journeys across America. We learn more from Cornelius's Jean, a onetime teacher in Haiti, reduced to being a luggage handler at the Miami airport. He is a traditional romantic and has loved many women. He has struggled to understand his son, who was born and raised in a very different, more modern world, without the traditional cultural values Jean absorbed in Haiti. Cornelius gives the role warmth and love, framed with a yearning to learn more.

Boyd's portrait of Jonah is that of a spikier young man, relocated to Los Angeles for education and gay lifestyle. He portrays his life with humor and desire, especially in a series of romantic encounters that mirror his father's relationships with women. When Jonah learns of Jean's death and that his ashes remain in Miami, he decides to undertake a complex journey to learn more. He doesn't drive, so he must use alternative means–Amtrak, Greyhound, bike, and bummed rides–to claim Jean's remains and deliver them for burial in Port au Prince, Haiti.

As Jean and Jonah's singular recollections run parallel, commonalities and similarities emerge. Despite their generational differences, they both desired affection and companionship. At one amusing moment, their differing journeys parallel with visits to Mt. Rushmore, where they are watched over by the stern eyes of past American presidents.

Where the Mountain Meets the Sea has had an evolving production history. It began in 2020 as a commission by Actors Theatre of Louisville for its Humana Festival of New American Plays. The pandemic meant it had to become a virtual production that paired Augustin's script with music by the Bengsons, a folk duo who have created, performed and recorded original music for two decades. In 2022, the show had an Off-Broadway staging by the Manhattan Theatre Club, again with the Bengsons involved. Then in 2024 it was presented at Arlington, Virginia's Signature Theatre.

Timothy Douglas staged it there. Cornelius played Jean, and Morrison was an actor and musician. For the Cincinnati Playhouse, Douglas newly adapted it with the addition of Boyd and Fobbs, using the Bengsons' songs. Based on reviews of those previous productions, it seems that the essential romance and profound portrait of parent-child understanding have been further distilled. Where the Mountain Meets the Sea is a deeply emotional, well-told tale.

Where the Mountain Meets the Sea runs through September 28, 2025, at Cincinnati Playhouse in the Park, Shelterhouse Theatre, 962 Mt. Adams Circle, Cincinnati OH. For tickets and information, please visit www.cincyplay.com.