The Show Must Go On

Into the Breeches! – Northlight Theatre

It’s been said that War is hell. On the front, the men and women serving their country can testify to that statement. But back at home, private citizens in communities everywhere were having their own problems. Forced to tighten their belts, women were sacrificing a great deal for their men in uniform. Females, like the famous icon, Rosie the Riveter, left their homes to join the workforce. Scrap metal drives helped recycle materials necessary for making all kinds of war vehicles and weapons. The USO was established around the world to create a home away from home for GIs stationed far from their loved ones. But how did WWII affect small town social organizations, like community theatres?

Prolific playwright and Northwestern University graduate, George Brant, author of “Grounded,” “Any Other Name” and “Grizzly Mama,” has imagined such a situation. He’s written this comic drama that takes a loving, yet creative and unflinching look at what might’ve happened in a town like Evanston during the Autumn of 1942. With every able-bodied  man off fighting, the Oberon Play House has been left without its director, as well as all its male actors. Ellsworth Snow, the theatre board president, reluctantly feels that they should simply close the theatre and cancel the current season, hoping to see a swift end to the War in the following year. But Maggie Dalton, the director’s wife, has other plans.

Brant has written a powerful, yet highly entertaining, feminist play, that addresses many of the sensitive topics of the day. Besides women’s equality, Brant includes debates about agism, racial prejudice and homophobia. At the top of the play, Maggie meets with Mr. Snow on the theatre’s empty stage. She hopes to convince him that the show must go on, and that a melding of Shakespeare’s Henry plays would be the perfect drama to present during these troubled times. Maggie’s been writing to her GI husband about her radical vision for casting and creating a production of the Bard’s Henriad. Maggie’s secured her husband’s blessing, not only to direct the play, but to attempt her revolutionary idea of casting all 29 roles with women.

Ellsworth Snow reluctantly gives in to Maggie’s whim, confident that her plan will fall flat. However, what Snow doesn’t realize is that Maggie Dalton is a driven woman on a mission. Not daunted by the sparsity of auditioning actresses, she has consulted with her soldier husband about ways in which she can double and triple cast the women to fill all the parts. She even has plans to step into a role or two, herself. 

But when Celeste Fielding, the company’s longtime, resident diva, and Ida Green, the Oberon’s smart, talented, African-American costume designer, all throw their support into this project, dissension begins to arise. Adding to the problem is the theatre’s stalwart stage manager, Stuart Lasker. He’s one of the few men of military age still residing in Evanston and, with a need for more actors, Lasker has flung open the closet door, confessing that he’s secretly been living as a gay man. Lasker volunteers to play one of the female roles, creating all kinds of controversy; but this is just the tip of the iceberg.

As Northwestern University’s Head of the Graduate Directing Program, Jessica Thebus is a talented, familiar fixture at Northlight, as well as with just about every other theatre around Chicago. She’s the creative force behind this production and has successfully guided her mostly female cast into the perfect production. The cast is led by Darci Nalepa as the first-time director of the Oberon Play House, Maggie Dalton. Ms. Nalepa thoughtfully plays the role of an early feminist, carefully treading lightly in what’s traditionally been a man’s world, but determined to change certain attitudes toward women. For all her efforts, Maggie’s ultimate triumph earns her a well-deserved standing ovation.

The supporting cast is marvelous. One of the jewels of the Chicago Theatre, Hollis Resnik is Celeste Fielding. From her initial grand entrance down the aisle of the Northlight Theatre, to her final sweeping bow at the end of the play, Ms. Resnik was born to play this role. She creates a comical over-the-top amateur actress, for whom “all the world is (quite literally) a stage.” This gifted, real-life thespian, who’s played such diverse roles as Judy Garland, in “End of the Rainbow,” Desiree Armfeldt, in “A Little Night Music,” and Little Edie, in “Grey Gardens,” is the best reason for seeing this production. She’s the consummate character actress who brings more to this role than, one supposes, even the playwright had envisioned. Ms. Resnik is clever, funny and often painfully touching as a woman who has to face the fact that she’s no longer an ingenue.

Other Windy City veterans of the stage leave their mark on this delightful period production. Penny Slusher, always a treat in any role she undertakes, is captivating and endearing as Winifred Snow, the wife of the board president, who ends up playing a key role in helping Maggie accomplish her dream. Ms. Slusher is warm and wonderfully humorous as woman for whom the stage had only been a place for watching others perform. Suddenly, with a little encouragement, Winifred’s becomes bitten by the acting bug and turns into a star.

Fred Zimmerman, who may be remembered for his roles at Northlight in “84 Charing Cross Road” and “The Gamester,” is properly pompous as Ellsworth Snow. Not used to having women stand up to him, Snow learns some important lessons as a theatrical board president who’s continually put on the spot. As a loving husband, Zimmerman’s Mr. Snow admirably puts aside his own prejudices for the love of his wife, Winifred.

Penelope Walker, one of Chicago’s finest actresses, is excellent as costumer-come-actress, Ida Green. No longer content to merely sit backstage sewing costumes, Mrs. Green becomes motivated by Maggie’s determination and feminism. She recognizes an opportunity to not only help get this production on its feet, but to strike a blow for racial equality. Equally, Mitchell J. Fain, playing scrupulous stage manager Stuart Lasker, is hilarious and strong in his role. As a homosexual man who makes the difficult decision to come out, aided by the support of his new female friends, Mr. Fain demonstrates talent and admirable courage, striking a blow for gay rights.

The younger characters of this play, who choose to dabble in this theatrical endeavor, are both superb. Molly Hernandez, as June Bennett, and Annie Munch, playing Grace Richards, both come into the project, looking for a pleasant pastime. With their menfolk off fighting Hitler, these two women are doing what they can on the home-front to aid in the war effort; but the ladies are searching for something to occupy their minds and keep them from worrying about the safety of their husbands overseas.

 Ms. Hernandez, remembered for her stunning roles in Theo Ubique’s “Most Happy Fella” and TimeLine Theatre’s “Masterclass,” makes a sweetly naive, but enthusiastic wannabe actress. She’s a woman who’s very involved in the war effort but finds this new world of greasepaint and costumes intriguing. Ms. Munch, earlier enjoyed in Steppenwolf’s “Mary Page Marlowe,” portrays a strong young lady trying to maintain her calm, while quietly worrying about a husband missing in action. She pours all her energy and creativity into becoming the best Prince Hal she can be. Mrs. Richards is an open book, willing learn from everyone connected with this noble endeavor; and in doing so, Grace learns a great deal about herself.

This is a charming, disarmingly entertaining play with a strong message. It’s filled with humor, history and social commentary, that’s sure to appeal, especially, to the more mature theatergoer. Jessica Thebus has brought George Brant’s play to life with with vision and vigor. In Northlight Theatre’s final production of the 2018-19 season, audiences will cheer these steadfast characters whose only goal is that show must go on.

Recommended

Reviewed by Colin Douglas 

Presented May 9-June 16 by Northlight Theatre at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL.

Tickets are available in person at the box office, by calling 847-673-6300 or by going to www.northlight.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.