Milcom Negley, a one-man militia, rages against the tyranny of federal overreach. He is hunkered down in a rural Toby jug museum in a rust belt Ohio town where Tink Enraught, a mannered curatrix, offers him tea and cookies. Milcom is a “Thirteenther” – a conspiracy theorist who believes an obscure, would-be Thirteenth amendment negates the authority of our government. He occupies the museum because it is the only place left in his failed town to receive federal funds – a grant for the upkeep of a rare 17th-century British pitcher known as “Sir Oswyn.”

Although Milcom expects to be swarmed by military drones, attention is paid only by Agent Reyes, a young rookie FBI field specialist. Milcom explains that the town’s only major source of employment – a hammer manufacturer – has gone under, leaving the residents lost. He is armed with “the Last American Hammer” to roll off the plant’s line and intends to hold a proxy trial against the US government using Toby jugs as physical stand-ins for a court. 

With a bluegrass-infused score that brings American roots to the operatic stage, The Last American Hammer combines comedy with empathy in small town USA.