by Paula Kaplan-Reiss
Mae West is the subject of Claudia Shear’s play, Dirty Blonde, being performed at the Ghent Playhouse. First seen on Broadway in 2000 with songs by James Lapine, the entire cast was nominated for Tony awards. West, a sex icon who seemed to turn on every man with her bawdy humor and voluptuous body, is often impersonated to this day, though she was a performer 100 years ago. This three-person play requires each performer to command the stage. Two of the actors successfully do.
The play revolves around Jo (Jessica Cordova) and Charlie (Monk Schane-Lydon), two people who are Mae West fans who meet at her grave. Jo is a wannabe actress and temp worker. Charlie, who had the fortune of meeting West as a teen, currently works in the archives of the New York Public Library. Their relationship develops over their love of and obsession over West, and their desire to embody her life.
Robert Mason, as a man ‘playing the piano’ at the top of the show, begins the play and confidently plays many roles throughout the performance, including West’s husband and an over-the-top director. He is funny, entertaining and can sing.
Going back and forth in time, we see Cordova acting much more comfortable playing present-day Jo than inhabiting the Mae West character of the 1920s. We watch as she tries to understand Charlie and his interest in West. She seems to develop feelings for him, but begins to question his sexuality, learning he enjoys dressing as the sex icon. Clearly the two are good friends together and they bond over their shared passion.
At the same time, Schane-Lydon as Charlie is also developing his attraction to Jo. Their chemistry, however, is not obvious. Fortunately, Schane-Lydon plays many roles as well, covering a whole cast of characters in West’s life, including W.C. Fields, and a judge who convicted her of indecent behavior and dialog in early movies. Both Schane-Lydon and Mason easily and seamlessly slip into their different personas.
Shear’s play is not terribly engaging nor strong in plot. Mae West does not hold the alure of someone like Marilyn Monroe, although perhaps she did during her time. As West, Cordova seems to grow into playing this icon as the play proceeds. She is inconsistent using her famous dialect and flaunting her seductive qualities, so essential for this role. As her first musical part, Cordova struggles with the five songs she sings, seeming more confident with dialog. I question how essential the songs are to this play and wonder if Director Sky Vogel might have eliminated them.
Vogel also has the challenge of having West change into a corset and elaborate gown while on stage, behind a screen. While Karin Mason as costume designer gives a wonderful dress, shoes and hat for West, the time to get into this outfit is long. There is a clever scene, however, with Cordova being dressed as West, back and forth in time by characters played by Mason and Schane-Lydon. I question why in this sexy, fabulous gown, West’s undergarments are clearly visible. As Jo, a brighter blouse might have made a more pleasing outfit for her to wear. Otherwise, Mason’s simple costume pieces are effective for the two men to change characters. Charlie dressing as West works beautifully.
Vogel designs the simple set with flats featuring West’s initials and movie posters. A projection over the stage orients the audience to what year is being presented and in what location. Lighting Designer Jo Filkins is not consistently successful in making sure each performer is well-lit.
For Mae West fans, Dirty Blonde at the Ghent Playhouse would benefit from a stronger Mae West performer. Mason and Schane-Lydon show their experience and enjoyment in acting and singing, and are well-worth seeing.
“Dirty Blonde” by Claudia Shear and James Lapine, directed by Sky Vogel, musical direction by Cathy Schane-Lydon, is running June 5-14, 2026, at the Ghent Playhouse, 6 Town Hall Place, in Ghent NY. CAST: Jessica Cordova, Robert Mason, and Monk Schane-Lydon. Lighting Designer Jo Filkins. Costume Designer Karin Mason, Choreographer Tanga Phelps, Production Stage Manager Thorn Burnham, Produced by George Lytle
Tickets are $28 for general admission, $23 for members and $12 for students. Performances Fridays and Saturdays at 7:30 pm and Sundays at 2 pm. For more information, visit https://www.ghentplayhouse.org/ or email info@ghentplayhouse.org.