By Russ Bickerstaff   Published Nov 22, 2004 at 5:23 AM

{image1} Whether it's on the cinema screen or the theatrical stage, romance is rarely represented well in drama. Productions either fail to capture the subtle complexities of love or they lack the substance of realism. With "The Voice of the Prairie," Next Act Theater presents a story that is both believable and complex without ever being either mundane or esoteric.

Like any good romance, "The Voice of the Prairie," is about people who end up being lovers -- not lovers who end up being people. All the characters are individuals who are emotionally interesting independent of each other. So, when romance is in the air, it's remarkably compelling because it's happening to characters that seem real.

The story is set on the rural American prairie in the 1920s. David Quinn is a charming guy who loves telling stories to other rural folk. One day at a hardware store, a charismatic radio promoter from the East Coast, Leon Schwabb, overhears Quinn's storytelling and offers him an opportunity to perform a local broadcast for one dollar. He accepts, and after a fairly shaky start, his first broadcast is a hit. Before long Quinn is doing a nightly broadcast.

Quinn's stories are drawn from his own past as a traveler. They move back and forth between present day Quinn and young Quinn.

In one tale, young Quinn's nomadic father passes away and he finds himself alone and scared. A young, blind woman named Frankie catches him poking around in her father's barn. They hit it off and escape her abusive, alcoholic father. Once on the road, their strong connection leads to romance. As young Quinn's romance blossoms, old Quinn's storytelling career becomes more successful.

Things become difficult for everyone when old Quinn's promoter is investigated for shady business and young Quinn gets into one too many jams. Why isn't Quinn still with Frankie? How will Quinn feel when his promoter asks her to meet with him? Shouldn't Quinn's promoter be able to exploit the exciting new medium of radio without government intervention? These questions are answered after the intermission.

"The Voice of the Prairie" is pleasantly balanced. Nanya Ramey's open, uncluttered scenic design provides a perfect backdrop for the blocking and staging of the action. Matthew J. A. Kerr's lighting work paints Ramey's set in striking shades that make the rather cramped Off-Broadway Theater feel endlessly bigger than it is. The original score composed by Peter Otroushko, reminiscent of the music of NPR's "A Prairie Home Companion," ties all the production elements together quite well.

The dozen or so characters are played by only three actors. On opening night, the role of old Quinn was played by Next Act's producing artistic director David Cecsarini, who also did the sound design for the play. As Quinn's father, he is a charming storyteller with an opening monologue and a dark side. As Old Quinn, he is charming and savvy with a pleasant demeanor. (These roles are scheduled to be played throughout the run by Brian Robert Mani -- a regular to theater stages in both Milwaukee and Chicago.)

Cecsarini's alternating roles -- against Madison native Matt Tallman -- are captivating as he goes from socially autistic son of a vagabond storyteller to caring, compassionate man in love with Frankie. As the shady radio promoter Leon Schwabb, Tallman performs a comical New York accent. His ability to switch between the roles as quickly as he does is remarkably fun to watch because the roles are so different.

Playing Frankie at both stages in her life, Mary McDonald Kerr rounds out the cast quite well. The fragments of the play performed through her adult perspective are striking. As youth, she provides energy for Tallman and Cecsarini to play alongside for their ends of the romance.

Next Act's "The Voice of the Prairie," plays now through Dec. 19 at the Off-Broadway Theater. Tickets range in price from $22-$30 and can be purchased in advance by calling the box office at (414) 278-0765.