Humans are capable of incredible feats — our bodies can overcome incredible adversities that may seem impossible. But why do we choose to attempt the impossible? What compels us to put our lives in such perilous situations as climbing a mountain? These are the questions posed to us in The Mountaineer, a new musical by Diana Raynes and directed by Eric Honour.
This play tells the story of the Climber — played by Diana Raynes — as she travels back to base camp after summiting one of the world’s highest mountains. Accompanying her via radio calls and the Climber’s imagination are the Manager (played by Mercury Eadie), head of base camp and occasionally the voice of the Climber’s doubts, and the Partner (played by Guen Spilsbury), the Climber’s lover, whom she left partway through the climb to blaze a path ahead. As exhaustion, oxygen deprivation, and the unforgiving mountain conditions set in, the Climber uses songs and the stories of the real-life mountaineers who came before to keep her focused as she navigates the mountain and the impacts of her choice to climb.
This three-person cast did an excellent job conveying both the perils of the environment they find themselves in and their heartwarming relationships. Raynes portrays the Climber’s conflict with a vast emotional range, giving the audience a real glimpse into the decisions and doubts she faces throughout her journey. Eadie shines as the Manager, both of base camp and the journey, jumping in as an imaginary interviewer, a musician, and the manifestation of the Climber’s fears. Spilsbury delights as the Partner, gracefully portraying with raw emotion the love and anxiety they feel for the Climber.
A highlight of this performance is the original songs throughout, composed, arranged, and recorded by Raynes. The songs serve many purposes, such as adding comedy to an otherwise dark topic or giving the audience a better glimpse into the inner workings of the characters’ thoughts. All the songs have a folkloric quality, adding to the mysticism of the terrain and the topic at hand. The only song that isn’t original is “Mist-Covered Mountains,” which is a Gaelic folk song by John Cameron. This song was a particular highlight for me because I got to participate in it. That’s right — audience participation is present in this show, and I had a wonderful time swaying to the live music onstage with my fellow audience members. The audience participation added an extra layer of fun and depth to my experience because it really solidified the division between the Climber and her choices and everyone else.
If you thought the cast was small, just wait until you see the crew. Eric Honour, the director, was also the producer, set designer, costume designer, lighting designer, and sound designer. The set itself was simple, leaving the audience to interpret it as they see fit, but also giving the actors many opportunities to play and explore how to guide the audience’s interpretation of such a treacherous and unforgiving landscape. The set was contrasted by the colorful and ever-changing lighting design, which used different combinations of warm, cool, and stark lighting to indicate setting, theme, and emotion.
In the director’s notes featured in the playbill, Honour notes that one of the joys of working on a new show is that “every decision is in service only of the text.” Between the simple staging, colorful lighting, original songs, and written conflicts both internal and external, The Mountaineer is a wonderful example of the importance of producing and performing new and original material, while exploring themes of conflict and asking all of us why we are driven to do the things we do.
Running Time: 70 minutes, no intermission.
The Mountaineer plays through January 17, 2026, at Greenbelt Arts Center, 123 Centerway, Greenbelt, MD. Purchase tickets ($24 general admission, $22 senior/military, $12 students/children) online. For more information, phone the box office at 301-441-8770 or email boxgac@greenbeltartscenter.org.
