PINCKNEY—The Dio Dinner & Entertainment’s production of The Bridges Of Madison County is poignant and thought provoking. It’s also a story that will surely provoke some interesting discussions among married couples since infidelity is a central theme.

At the risk of sounding cliched, Marlene Inman seemed born to play Francesca. She captures the essence of the middle-aged and beautiful housewife who has accepted her fate in life as a mother and wife, cook, cleaner and soother of her family’s daily trials and trivialities. That is until Robert (Jon McHatton) shows up at her door. A National Geographic photographer, he is looking for directions to one of the famed historic bridges near the Winterset, Iowa farmhouse. Robert reawakens a part of Francesca that had been lying dormant, due in part to her own complacency in accepting the lot that life had dealt her since her choice to leave Italy and marry Bud, a serviceman who she had met soon after her fiancé Paolo was killed in World War II.

The musical, directed by Steve DeBruyne with musical direction by Brian E. Buckner, is set in 1965. So there are no cell phones, no Skyping or Facetiming, no GPS navigation — all the technology which could have made things go a very different way. After all, with GPS, Robert might not have gotten lost. With Skyping, Francesca may have been obligated to be more fully with her family members, who have gone away for a few days to compete in the Iowa State Fair. If Francesca had a cell phone, Bud would have been able to reach her more easily and wouldn’t have been left wondering where she was during his unanswered phone calls.

However, the calendar year doesn’t affect the emotions or reactions and the universal themes of love, trust and commitment and the multi-layered complexities to the characters. It probably goes without saying that marital infidelity has occurred since the beginning of time. However, in the pre-Tinder and pre-Craigslist days of 1965, it probably wasn’t as easy to commit, especially not in rural Iowa where neighbors routinely spy on each other with binoculars, and gossip is pretty much all folks have to do when they aren’t farming.

The singing is across the board outstanding, but Inman is in another class. Her voice, trained in opera but also firmly rooted in the musical theatre genre that has been the center of her performance life, seems flawless, despite the demanding book that has her appearing (and singing) in nearly every scene. The casting is also outstanding with Andrew Gorney making a perfect Bud, the stoic farmer and earnest husband, who clearly loves Francesca, but is not wired to give her the romance and attention she desires. They are housemates, not soul mates. Jon McHatton is well suited for the virile and handsome Robert.

Robert couldn’t be more unlike Bud. Although he’s labeled as a “hippie” in town by the residents who ogle him taking pictures of their famed bridges, he is sweet and attentive toward Francesca, takes interest in her sketching, and is quick to lend a hand with the vegetable peeling and washing up in the kitchen. This is in stark contrast to Bud, who arrives home from the fair and almost immediately demands to know what Francesca has prepared for dinner. It’s in that moment that Francesca’s choice seems so clear. She loves her family dearly, but is she willing to resign herself to continuing to be consumed with their needs ahead of her own? She has been losing herself for years. Is it her time to find the real Francesca again? Is tough guy Bud even capable of giving her what she wants and needs? Inman’s balance of want, reluctance and responsibility is a thing to see.

DeBruyne surrounds Inman and McHatton with a polished ensemble. Carrie Jay Sayer as nosy neighbor Marge and Dan Morrison as her husband Charlie have lovely comedic chemistry, and serve the play well to break up the at-times heavy doings between Francesca and Robert. Julianne Roberts and James Fischer as the Johnson kids nail the teenager angst and the typical pendulum shift between a teen’s utter selfishness and love.

The set and lighting of this production deserve as much recognition as the actors. Matt Tomich, who is in charge of set, lighting and sound design, has pulled off a miracle. Despite the lack of a back stage and the small stage, the cast effortlessly changes the set back and forth between Francesca’s kitchen and the outdoor bridges, with a few scenes at stores in town, the neighbor’s living room, the agricultural competition and a bar that Bud relaxes in after the competition, thrown in. The wide array of settings is aided by lovely projections that show the farmlands around the bridge, the town’s stores where Francesca shops and the family goes for ice cream and the starry nights that Francesca and Robert fall in love under.

It should be noted that The Bridges of Madison County contains mature content, and is not intended for audiences under 16. If marital infidelity is a hot button issue, it also might not be a fun night out for a married couple. On the upside, though, perhaps the story line will stir up real conversation and result in couples appreciating each other more and taking better care of the other’s needs. One can only hope. In any case, the music alone is worth the price of the ticket, which includes dinner at the Dio.

Click here for show times, tickets and details.