Progress
by John Wolbers
Directed by Trish Brown
Prism Theatre Company
July 3, 2026
Nicole Angeli, Michelle Hand
Photo by Leo Young
Prism Theatre Company
Prism Theatre Company is back with a glorious World Premiere production focusing on women in history, and an eminent historical figure in particular. Progress also features a nearly all-female cast and crew, with a notable exception being the playwright, John Wolbers. Directed by Prism’s artistic director Trish Brown, the show focuses on progress in multiple ways, from a practice carried out by England’s Queen Elizabeth I to the struggles of women leaders throughout history, this show features a stellar cast and lavish production values, making for a must-see theatrical experience at the Kranzberg Arts Center in Grand Center.
The story, set in three scenes from 1562 to 1589, centers on Queen Elizabeth I (Michelle Hand) and the ladies of her inner circle, who wait on her, dress her, and serve as her confidantes, calling her “Bess” in private. These women are a mix of strong personalities, from the more prim Blanche (Nicole Angeli) and Sidney (Carly Uding) to the crass Kat (Margeau Steineau), the kindly Dorothy (Rachel Tibbetts), and the young newcomer Mary (Sarah Lantsberger), who is new at first and needs to learn the ropes, as well as her place in the court and the world around her. These ladies interact with one another and with the outspoken Bess, who is still learning to navigate her way in the world as Queen in a world where men dominate and women are often overlooked and ignored. It’s a fascinating dynamic, as Bess has to tackle various issues–like avoiding war or marriage–as well as a serious crisis that looms on the horizon, and the rest of the women deal with controversies, personality conflicts, and personal struggles as they work together to keep Bess ready for her role as monarch. There’s a good deal of humor here, as well as a wonderful fantasy sequence featuring past and present Queens including Elizabeth II (Steineau), Lady Jane Grey (Lantsberger), Boudica (Uding), Anne (Tibbetts), and Victoria (Angeli).
The story here is about the historical events–somewhat fictionalized since nobody really knows what the Queen and her ladies talked about in private–but it’s also about dynamics of women living in a man’s world, and a queen trying to assert her place in a world that doesn’t know what to do with her. The tone is largely humorous, with some crass language and jokes, as well as more serious matters of royal intrigue and a looming plague. The everyday matters of personal grooming and getting the queen ready for her various appointments also figures largely, with truly fantastic costumes by Liz Henning taking center stage and seeming almost like characters in the play themselves. There’s also a wonderful set and lighting by Katherine Stepanek that work to advance the plot, characters, and mood especially well, along with excellent sound design and music by Bryn McLaughlin and fight choreography by Riley Capp.
This is a highly personal work, with well-defined characters that have been perfectly cast here, led by Hand in a truly dynamic performance as the strong-minded but occasionally struggling Bess, who deals with personal relationship matters along with international intrigue in a world of men with whom she has to learn how to relate and work around. Hand has incredible presence, as well as strong chemistry with her equally excellent co-stars, who are all simply stellar. Everyone is fantastic, with Lantsberger and Angeli given especially strong moments, as Lantsberger’s Mary deals with finding her role in the court amid personal pressures, and Angeli’s Blanche deals with personal issues of her own. Steineau’s bawdy Kat, Uding’s conflicted Sidney, and Tibbetts’s matronly Dorothy are also especially strong, with a real sense of rapport that enhances the humor and the drama. It’s a master-class of ensemble acting, adding much to the entertainment value of the play.
There is so much going on here in the way of personal drama and national and international intrigue that it’s hard to adequately describe, but the main focus is on the characters and their relationships, which are superbly defined in this well-crafted, finely paced play. The title Progress refers to both a practice of the queen’s to move between various palaces and to the need to for the women in the story to learn how to operate in a world that doesn’t necessarily want them, and to make a difference. It’s an astounding feat of writing and acting, fitting into the small space at the Kranzberg Arts Center well, and telling a story that needs to be told. It’s a truly fantastic work of theatre.
Nicole Angeli, Sarah Lantsberger, Michelle Hand, Rachel
Tibbetts, Margeau Steinau, Carly Uding
Photo by Juno Mayer
Prism Theatre Company
Prism Theatre Company is presenting Progress at the Kranzberg Arts Center until July 12, 2026
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