by Jess Hoffman
I’ll be the first to admit that I’m a sucker for theater about theater. When one has immersed
oneself in stagecraft for as long as I have, it’s hard not to appreciate the way that theater can
comment on, and occasionally poke fun at, the purpose and process of theater. I’ll also be the
first to admit that sometimes, when not done well, theater about theater can insist upon itself in the most pompous and irritating ways. There are moments when Harbinger Theatre’s
production of Into the Breeches at The Albany Barn toes this line. Nevertheless I came away
from Into the Breeches feeling joy and pride in being a thespian–and whether you’re a casual
theatergoer or a veteran of the stage–I’m sure that you will come away just as pleased.
George Brant’s comedy takes place in World War II America; American men are fighting off the
Axis powers, and the theaters have lost all their male actors. At the Oberon Playhouse, in an
attempt to keep the playhouse open and to test her chops as a director, the wife of the theater’s director endeavors to stage an all-female production of Shakespeare’s Henriad.
Into the Breeches plays out like many other comedies about theater: personalities clash, divas
overact, novices fumble, and the director and stage manager struggle desperately to keep
everything together. (As a long-time stage manager myself, I was endlessly amused by Patrick
“Crue Steele” Fiaschetti’s dry snark and barely-contained panic as the production navigates
hurdles and setbacks. Fiaschetti manages to convey with only his practiced facial expressions
and occasional one-liners the unique combination of panic, frustration, and resilience that every stage manager feels during any production.) But underneath this simple and well-worn plot looms the poignant realities of war and patriarchy, thus heightening the stakes of a story that would otherwise be entirely farcical.
Into the Breeches comes to life with a talented and very funny cast. In addition to Fiaschetti’s
previously noted dry comedic stylings, Laura Darling plays the bombastic diva, Celeste, with
such raw charisma that the character never becomes obnoxious (even when she absolutely
ought to). And Jackie DeGiorgis does so much more than “round out the cast” as the quirky
older woman (and lover of theater whose acting talents leave much to be desired), Winnifred.
DeGiorgis seems to inject humor into every scene she’s in; one of the most memorable gags in
the show is her unrestrained glee at wearing fake male genitalia as the women attempt to
perfect their “man walks.” These stand-outs come together with Richard Cross as Winnifred’s
doting husband, Molly Waters as the young mother with exceptional natural talent, Madeline
Brogan as the unrelenting activist and leading lady of the cast, Monet Thompson Young as the
stalwart costumer with acting ambitions of her own, and Josephine E. Tracey as the resilient
director.
The costumes for this show are as one might expect for a play about World War II era theater.
Womenswear of the 1940s has an aesthetic that lends itself to the stage, and costume designer Barbara Neu Berti seems to know this. But where Neu Berti’s expertise really shows is in her ability to choose womenswear for Fiaschetti (as he takes to the stage in womens clothes) that doesn’t make him look ridiculous. Similarly, she outfits the women of the Henriad in men’s clothes that suit their figures and still look convincingly like men’s uniforms.
Ultimately, Into the Breeches isn’t a particularly profound meditation on theater, feminism, or
war. But it never really claims to be. And it does manage to touch on all these themes without
losing its comedic momentum. What Into the Breeches lacks in depth or subtlety it makes up for in good old-fashioned laughter. Even the most serious audience-member won’t be able to sit through the codpiece scene without at least a chuckle. So, if you’re in need of a laugh, I highly recommend you come down to the Albany Barn to see Harbinger Theater’s production of Into the Breeches.
Harbinger Theatre presents Into the Breeches by George Brant at The Albany Barn, 56 Second
Street Albany, NY 12210. Directed by Lauren D’Annibale. Runs from November 7-16, 2024.
Produced by Chris Foster. Stage Manager: Shaya Reyes. Cast: Josephine E. Tracey as
Maggie, Laure Darling as Celeste, Richard Cross as Ellsworth Snow, Jackie DeGiorgis as
Winnifred Snow, Monet Thompson-Young as Ida, Patrick “Crue Steele” Fiaschetti as Stuart,
Molly Waters as Grace, and Madeline Brogan as June. Sound design by Joshua Horowitz.
Lighting design by Laura Darling. Set design by T.J. Collins-Gutierrez. Costumes by Barbara
Neu Berti. Light & Sound Board Operator: Shaya Reyes.
Performances are Thursday-Saturday at 7:30pm. Tickets are $15 for general intermission. Runs
approximately 2 hours with one intermission. Contains mild innuendo. Recommended for ages
10+. Tickets are available online at https://www.eventbrite.com/e/1013661547977, or at the
door for any performance.