author: Charles Boyington & Steven Kirkpatrick
The Questions: If in Shakespearean times, all the roles in his dramas were played by men, should we not have dramas today where all the roles are played by women? If Hamlet is arguably the best character Shakespeare has ever written, should not every woman want desperately to play him? Should you spend your money to see this community production? Yes.
In Women Playing Hamlet, a modern comedy about a woman who has been cast as Hamlet, we take a whimsical journey as (like the character of Hamlet) our heroine faces self-doubt and grapples with indecision. All the roles are played by women and as in Shakespeare’s time, there is a great deal of chatting with the audience. Unlike Shakespearean days, there are a great deal of PowerPoint slides and text messages which play a major part in the action.
The play by William Missouri Downs, which can be performed by a cast ranging from four to nineteen women, is presented in this production with eleven performers under the direction of Fred Nelson. Nelson notes his enthusiasm for participating in the project as his motivation for directing. The staging is minimalist, featuring a bare stage with a prominent projection screen at the rear. The performance begins with a rehearsal for Hamlet, where the lead actor, Jessica Bissett (Dana Fleischer), is absent due to anxiety regarding the demands of portraying the central Shakespearean character. Over the course of ninety minutes, the production delivers elements of history, humor, and emotional depth. Jessica faces the decision whether to continue pursuing the challenge of playing Hamlet or return to her previous, more lucrative role in a soap opera. While the role of Jessica Bissett may not possess the intricate complexity of Hamlet, the task of carrying the show remains significant.
Jessica hires an acting coach, Gwen Dorway (Amy Heller), who according to Wikipedia played Hamlet once in earlier days. Gwen is willing to help Jessica and has two levels of service, for $50 an hour she will build up your confidence and for $100 hour she will tell you the truth. Gwen is one of the largest reoccurring roles in the show and Heller’s interpretation of the wizened and stern guide is nice contrast to the indecisiveness of our lead character.
As the story unfolds, we learn that Jessica Bissett shares key life experiences with Hamlet: both are around the same age, well-educated, and their mothers have each married their late husband’s brother. Holly Gibbs delivers an outstanding performance as Barbara Ostergaard—Bissett’s mother—a spirited Minnesota Mom embracing her sexuality within the framework of her Christian beliefs, don’t ya know? With this portrayal, Ms. Gibbs demonstrates the kind of charisma that could easily lead a sitcom of her own.
Jessica tries to see a psychiatrist, while staying in character for Hamlet. Laurie Simonds delights the audience as a Freudian doctor who seems to jump at the chance to fix this character. Simonds returns later in the show as a slightly senile Gilda Guildenstern, former soap actress, playing each moment and gesture to near perfection.
While the show is written and the roles divided to give each actress a moment to shine (and at one time or another, they all do), there are notable stand out moments. Shannon Monroe, as Bissett’s niece, is a natural on stage, looking cool and comfortable and playing to the back of the house like a seasoned professional. (One looks forward to seeing more from her in the future). Sue Ann Staake turns in very funny moments as both Lord Sebastian Derby and later as a very clever drunk Barfly: there are great contrasts in the portrayal. Pilar Bruyere delivers a spot-on portrait of an overweening humanities Professor. Betsy Shugar appears to be having the time of her life as Bissett’s best friend from MFA acting program in Minnesota who manages to become Bissett’s understudy, and later as a cable TV model.  Rosalie Daelemans turns in an engaging performance as The Reverend Bjorn Jorgenson who offers spiritual and Shakespearean advice.
However, like the play Hamlet itself, the scene that everyone remembers is the gravedigger scene. Here the grave digger of theatrical performers past is played to perfection by Holly Gibbs. The chemistry that she and Dana Fleischer work up is palpable and perhaps no moment in the show clicks better than this scene: channeling a frequency of slightly demented, divinely inspired humor and character commitment, Ms. Gibbs reminds us of why we love theatre.
The script, which won the 2015 Rolling Premiere National New Play Network award, sets clear expectations for the audience and delivers numerous running gags that playfully mock itself and theatre as a whole. While theatre insiders may catch more of the jokes, the humor is accessible to all. Removing the intermission might improve the show, though that’s uncertain.
With actors in multiple roles, costumes and make-up were crucial. Jennifer Georgia and Linda Swann’s costuming effectively established both character and setting, though the Grecian gowns and capes in the Hamlet rehearsal seemed out of place. Hair by Maureen Dawson, Sacha Nelson, and Sarah Schauffler, along with Sascha Nelson’s make-up, made transitions between male and female roles seamless. The stage managers also efficiently handled scene changes while contributing to the performance.
Although Bowie Playhouse isn’t a large venue, it still feels oversized for this production. I wish the staging had been moved closer to the audience, as the direct addresses and interactions clearly called for a more intimate setting. If you attend, I recommend choosing seats in the first three rows, or at least as near to the stage as possible, to help both yourself and the cast enjoy the experience even more.
Running Time:Â Approximately 1 hours and 45 minutes with one intermission
Women Playing Hamlet plays through March 22nd 2026 with Bowie Community Theatre at The Bowie Playhouse— 16500 White Marsh Pk Dr, Bowie, MD 20715. For tickets call the box office at 301-805-0219 or purchase them in advance online.
