Wilbury’s latest a timeless tale of love and forgiveness

It’s a special kind of theatrical performance that reaches its arms into the audience and embraces those seated there, and “Miss You like Hell” proves quite the extraordinary experience.

On stage now in its Rhode Island premiere at Wilbury Theatre Group, the play represents collaboration between Pulitzer Prizewinning playwright Quiara Alegria Hudes and songwriter/folk rocker Erin McKeown. Their dialogue and lyrics are welcoming and inviting, telling a story that is both timeless and timely — a mother’s love for her daughter as she faces deportation.

Beatriz drives cross-country to reunite with her 16-year-old daughter Olivia. It might be to cajole Olivia to appear as a character witness at her upcoming immigration hearing, or perhaps it’s concern for the daughter who blogged about jumping off a bridge.

Neither lives a glamorous life. Olivia’s father is distant and pushed her mother out of her life. Beatriz looks over her shoulder constantly because, as she sings, she is “one slip away” from being discovered as “out of status.”

The 90-minute production, which runs without intermission, overflows with emotions. Olivia is angry with her absentee mother. Beatriz is fun-loving yet scarred, working frantically to rebuild the relationship. As they travel to Los Angeles — via South Dakota, Wisconsin and Yellowstone Park — the pair meet quirky characters trying to live their own truths.

Mo and Higgins want to be married in every state after hiding their homosexuality in less accepting times. Manuel peddles tamales using his dead wife’s recipe. Pearl struggles to remain loyal to her blogger “friend” when Olivia reveals that her mother is not dead as she’d blogged. Pearl’s mother is, and she felt linked to Olivia in shared sorrow.

Through scenes crafted beautifully by Director Don Mays on a spare but clever three-sided stage is woven a strong sense of humanity. Hudes and McKeown have crafted a magical ride of the heart in which people are tested and goodness generally prevails. Every interaction connects to the audience with heartfelt lyrics that draw viewers deeper and deeper.

Mays’ staging is true to the realism of “Miss You like Hell.” He doesn’t overplay any moment because every one is equally vital to the story. He infuses well-choreographed motion when needed — two real car seats mounted on wooden blocks with wheels are pushed around the stage by ensemble members when Beatriz and Olivia are traveling. The focus is on the women, but the motion becomes a key element. To simulate a car accident, Mays combines spinning seats with realistic tumbling.

At another point, Olivia’s mind reels when Beatriz is taken from court in handcuffs. Mays encircles her on stage with the ensemble chanting the names of books and titles she covets in a frenzying attack of thoughts. It’s powerful to witness the embodiment of anxiety and fear.

Wilbury taps many newcomers for “Miss You like Hell,” and the results are absolutely riveting. Nicole Paloma Sarro, with her half-buzzed hair and sassy strut, is endearing as Beatriz. She exudes love for her daughter and an enviable zest for life, despite her status. She appears opposite Tanya Avendano Stockler as Olivia to form an unstoppable duo. Stockler’s voice is clear and strong as she offers angst-filled lyrics, and her ability to portray the teen’s turmoil is stunning.

“Miss You like Hell” pivots on a very political message, but the threads of love and forgiveness woven through the story are meaningful and heart-warming. The show runs through March 29 at Wilbury, 40 Sonoma Court, Providence, and several other locations in Providence. Call (401) 400-7100 or go to www.thewilburygroup.orgfor more information.