FLINT, Mich.–The Boatman is a show designed to make you feel.

It’s a show about memory, forgetting, dying and accepting the inevitable.

It’s also a world premiere and the show that is kicking off the inaugural season of Flint Repertory Theatre, the organization that used to be Flint Youth Theatre, but has evolved into a professional theater featuring both adult and children’s shows.

Directed by the artistic director Michael Lluberes, this new work by Alex Moggridge takes place in the underworld and it asks a lot of questions.

The first thing you notice when you enter is the impressive set. Not many theaters would turn half their stage into water—water deep enough that actors can fully immerse themselves and swim around, and the main character can row his boat through it. Add to that the steam coming up out of the water and the special effects of water shooting up from the floor and pouring down from the ceiling at various points throughout the show, and it truly is a technical wonder, courtesy of Shane Cinal.

One can also only imagine the work that stage manager Connor Klee must put in to not only make all these special water effects go off on cue, but to keep track of the seven actors’ entrances, exits and constant costume changes as they morph into different people.

Only Bret Beaudry as the titular Boatman and Meagan Kimberly Smith as Violet never change characters or clothes.

The play opens with Beaudry’s Boatman taking Connie Cowper in a trip in his boat. In this appearance, she is a botanist and tells him about a special kind of palm that grows for decades and only blooms after 60+years and then instantly dies. In all her appearances, she creates distinct characters, alike only in their readiness to make the journey that is expected of them.

In this initial scene, Beaudry is hard to hear for the third of the audience that he has at his back on this thrust stage. Thankfully, throughout the course of the show, his voice grows stronger and even in his gentle and reflective moments, you’re able to hear him over the sometimes rumbling waters.

Beaudry’s Boatman is a conflicted soul. He’s been ferrying passengers across the River Styx for what seems an eternity to him and it’s the same every day. He talks to them and finds out what they love the most, then half way through he asks them if they’re ready. They tell him they are and give him the requisite coin. Beaudry gives the Boatman the air of a therapist, a gentle confidante who is willing to be your final, best friend. When he interacts with Time, played by Rico Bruce Wade, you find out he is weary of his task and struggles to understand the moments his passengers choose to share with him.

Wade, who is also one of the passengers, is hip as Time and spouts much of the playwright’s thoughts about philosophy, life, memory and forgetting. Wade gives him as much personality as possible. It is unfortunate that Moggridge has him disappear after doing such a good job of establishing his role.

Smith’s Violet is the one whose arrival upsets the boat, as it were, throwing into chaos what has been orderly and unchanging for as long as any of the Underworld Spirits can remember. She’s younger than most the passengers, and unlike the others she’s not very forthcoming about what she loves. And she’s certainly not ready to cross over. Smith’s energy is in immediate contrast to everyone else on the stage. She’s angry, loud and combative. Let others philosophize and open their hearts. She will not go gentle into that good night. She will rage–rage much to Dylan Thomas’ approval–even if she is not of old age nor in the company of wise men. She keeps up the energy and raises the stakes for everyone on stage. And while everyone else is gentle, poetic, and polite, she uses strong language and wears her hurt like a shield.

The rest of the cast is made up of Deirdre S. Baker, Jordan Clime, and Shelby Lynn Coleman who double as Cerberus, the three-headed dog, and the water spirits. They provide the show’s only comic relief, something much needed when contemplating death, loss, and letting go. The three heads have very different personalities and they’ve spent eons bickering. Their patter is entertaining and amusing, and it’s worth paying attention to what book the one head is reading later in the intermission-free play.

They’re also the water spirits and are to be commended for the highly physical role they must play, first turning the boat and then in a more aggressive role as the play goes on. They are spooky and threatening and never hesitate to immerse themselves in the water, which one can only hope is kept warm for them.

Smith, Beaudry and the three water spirits share an intense scene in which all of them do amazing ensemble work that is a turning point of the story and its two main characters. Lluberes directs them in a scene that is physical, emotional and deeply layered.

It is pretty apparent early on how the play will end, but the playwright takes you on an interesting ride and gives you enough twists to make you doubt what seems the most obvious ending. He maintains a moodiness that challenges the audience to think about the afterlife, but also the ways we let go of what we love in this life.

Flint Rep has shown with its inaugural show that it won’t hesitate to enter deep waters and explore serious questions in an emotional manner with new works beautifully staged and presented.

Click here for show days, times and details.