“The Trip to Bountiful,” a play by Horton Foote, was truly a bountiful experience. In 2005, it won a Tony Award for the best revival of a play, and its author, Horton Foote, won a lifetime achievement award.

There are times when less is more, and judging only by the number of just seven performers, this was one of those times. Nearly the entire weight of the play was on the shoulders of one person, Sharon Hilton, who played the central character Carrie Watts. She played her part with dignity, passion and an understanding that readily communicated itself to the audience. She gives substance to the adage that there is no pro like an old pro. The emphasis here should be on the word “professional.” Her performance is a tour de force. Her interpretation of that part could easily be a demonstration of what acting is all about.

Watts is the elderly mother of a henpecked husband, ably played by Jay Rodger. The shrewish wife was admirably portrayed Linette Miles. Watts wants nothing more than to return to Bountiful, the town of her youth, for just one more time. Eventually, she does make her escape and meets with a young woman, Thelma, on the train, played by the multi-talented Katie Rodger. The scene at the train station with just the two of them conversing with each other seemed as natural as it was entertaining. (Ms. Rodger can sing as well as she can act.)

Eventually, her son and his wife drive to Bountiful to retrieve Watts. The variety of facial expressions by Hilton that mirror the emotions, particularly in the last scene, are so realistic that one forgets that Hilton is acting. Watts and her daughter-in-law, Jessie Mae Watts (Miles), come to a kind of understanding and return home to Houston. It really does not matter as Watts has achieved her dream of visiting her childhood home.

Adding much enjoyment to the play was an octet of singers, singing various Baptist hymns a cappella. The direction by Jeff Seabaugh was so seamless that all the movements of the few characters on the stage at any one time were never static. I must compliment Jerard-James Craven for the clever use of the sets, which readily converted from one set to another.

The show continues at the Hackmatack Playhouse in Berwick through Saturday, Aug. 30. I would be remiss if I did not mention that the blueberry pie available during intermission is more than finger-lickin’ good, to borrow a well-known phrase.

For tickets, call 698-1807 or go to www.hackmatack.org.

— Dr. Gold is a composer/conductor and an arts reviewer for the Journal Tribune.