Millennial Notes

George Brant’s WWII Comedy Shows Us How to Fight Back

by Isa S. Chu

George Brant’s 1942 ensemble comedy, re-set in Richmond, California, imagines a bold community effort to keep theater alive during WWII. Brant tells the true story of an all-female production of Shakespeare’s “King Henry” plays. It’s a love letter to small theaters and the empowerment that happens when people come together in uncertain times.

Director Marilyn Langbehn brings us the fictional Oberon Playhouse which has lost its male actors to the war. Maggie Dalton (Katharine Otis), the director’s wife, dares to take the reins, and cast women in the “Henriad” to keep their season alive.

We see hesitant housewives, a reluctant board member, and an assertive diva transform into a beautiful community. Their theater company becomes resilient, creative, and quietly revolutionary.

As Maggie Dalton, Otis gives her character an arc worth rooting for. At first, she channels her absent husband, parroting his directing style. But she finds her own voice, nurturing her cast and trusting her instincts. Maggie stands firm, even when her confidence wavers. Her persistence binds the group together.

Dana Lewenthal’s Celeste Fielding, the comedic diva we love to hate, turns up the heat. Celeste first appears draped in a full-length fur coat. She blusters with sweeping comic gestures, demanding recognition.

Celeste also demands to be paid—and her demand helps the others find their power. With powdered cheeks and imperious lines, Celeste turns the tide.

Alana Wagner stands out as Ida Green, the company’s dedicated and talented costume designer. Her Shakespeare monologues land with quiet force—shoulders squared, voice grounded, gaze steady. Ida is determined to demonstrate the power of one woman’s assertion. Clearly and unapologetically, Ida shows she belongs.

As Grace Richards, Helen Kim delivers a tender monologue about her husband, who is Missing in Action. Grace evokes guilt and unexpected joy. She discovers that performing amid grief brings her back to life–a reminder to keep making art.

Stuart Lasker (Gregory Lynch), the gay Stage Manager, gets to play Mistress Quickly hilariously, in drag. In a world that deems him unfit to serve, he finds purpose, belonging, and dignity among women who are actively redefining their roles.

Mary Katherine Patterson charms as June Bennett, the play’s spirited ingénue, with a starry-eyed innocence straight from a film poster. June’s earnest activism grounds the play firmly in the 40s, embodying the optimism and urgency of young women stepping into new roles during wartime.

Marsha van Broek delights as Winifred Snow, combining wide-eyed purity with Groucho Marx swagger. Her transformation under Maggie’s direction is one that truly feels earned and visible.

As the doubting husband and Board President, Chris Harper plays Ellsworth Snow with a subtle warmth. Initially a conservative foil, he evolves once he sees his wife shine onstage. In a show-stopping gesture, he dons a dress “in solidarity.” Harper ushers the production to life.

Masquers Playhouse delivers a delightful evening of comedy and friendship, when a few women dare to challenge the prejudices of the past. Since we are are still fighting racism, homophobia, and misogyny, it’s a timely reminder of what remains to be done.

“Into the Breeches!” by George Brant, directed by Marilyn Langbehn, at Masquers Playhouse, Point Richmond, California. Info: masquers.org – to August 3, 2025.

Cast: Chris Harper, Helen Kim, Dana Lewenthal, Gregory Lynch, Katharine Otis, Mary Katherine Patterson, Marsha van Broek, and Alana Wagner.

Banner photo: Helen Kim, Katharine Otis, Dana Lewenthal, Marsha van Broek, Mary Katherine Patterson, and Alana Wagner. Photos: Mark Decker