The Hiding Place Offers a Remarkable Story of Courage

It’s no secret that Broadway’s understudies and swings have kept theaters going as COVID continues to impact productions. And with the Nashville premiere of The Hiding Place on June 30, local audiences got to see firsthand what a crucial part these hardworking actors play, as seasoned stage veteran Rona Carter stepped effortlessly into the lead role after Nan Gurley fell ill. And while I suspect that a few ticket holders were worried by the announcement, Carter proved to be more than up to the task, allowing the opening-night performance to go off without a hitch.

Based on the memoir of the same name by Corrie ten Boom, The Hiding Place tells the incredible true story of the ten Boom family — Dutch watchmakers who opened their home to help Jewish refugees escape the Nazis during World War II. Adapted for the stage by the Rabbit Room’s A. S. “Pete” Peterson, the play is directed and designed by Matt Logan, marking the inaugural effort for both Matt Logan Productions and the Rabbit Room’s newly established theater program.

It’s an ambitious project to be sure, and one that certainly fits with the Rabbit Room’s faith-based mission. For those unfamiliar with the 1971 book, the overt religious themes and imagery may seem excessive. But Peterson’s adaptation actually remains quite true to the original material, even when leaning heavily into well-worn metaphors and guideposts. Peterson clearly has a gift for lyrical language, as seen in past collaborations with Logan — including the world premiere of The Battle of Franklin (first produced by Studio Tenn in 2016) and a stellar adaptation of Frankenstein (produced by Studio Tenn in 2018). But as a piece of theater, The Hiding Place (which had its own world premiere at the George Theater in Houston in 2019) proves a bit trickier, occasionally getting bogged down in its own weighty narrative. And with a run time of roughly two-and-a-half hours with a 15-minute intermission, it seems that a few cuts might really strengthen the piece — distilling, rather than diffusing its powerful message.

Still, there’s no denying that The Hiding Place is beautifully conceived and staged. As always, Logan displays a remarkable vision and an incredible knack for detail. His revolving set design is visually striking (kudos to technical director Mitchell B. White), but also ensures seamless scene changes — particularly in the first act, when the action quickly shifts between the ten Boom family’s watch shop and their private living quarters. Stephen Moss’ evocative lighting and Danny Northup’s crisp sound also help guide us, with Don Chaffer’s original music punctuating each scene — from gauzy childhood memories to moments of sheer terror. Interestingly, Logan depicts some of the most vicious examples of cruelty — including the horrors of the notorious Ravensbrück concentration camp — through slow-motion sequences, which are perfectly executed by the cast.

And what a stunning ensemble of players it is. As noted, understudy Rona Carter is excellent as Corrie ten Boom, infusing the pivotal role with quiet strength and dignity, even as she reveals her character’s doubts and fears. As the unshakably faithful Betsie, Carrie Tillis is given a much more narrow spectrum to play, but still manages to offer a tender portrayal of unconditional love and kindness. And Conrad John Schuck channels a wonderful sort of plainspoken wisdom as the sisters’ beloved Papa. 

The supporting cast is just as impressive, made up of some of Nashville’s finest actors. Ross Bolen offers a commanding presence as Lt. Richter (the officer who oversees Corrie’s interrogation), while Matthew Carlton captures the humble courage of Koornstra (who helps secure ration cards for the ten Boom’s secret operation). Nathaniel McIntyre also succeeds as Pickwick (a daring member of the underground movement), and Jenny Littleton channels pure flinty resolve as one of the prisoners who befriends Corrie and Betsie at Ravensbrück.

The Hiding Place may feel a bit heavy-handed at times, but at its core, it offers a remarkable story of hope, and a welcome reminder that heroes often come from the most unlikely of places.