Stage Review - One Thing After Another (Ghost Boat Theater)

Stage Review - One Thing After Another
Presented By: Ghost Boat Theater - Vashon Island, WA
Show Run: June 26 - June 28, 2026
Date Reviewed: Saturday, June 27, 2026
Run Time: 70 Minutes (no intermission)
Reviewed by: Greg Heilman

Starting a new theatre company is one of the most ambitious undertakings in the performing arts. Beyond simply finding a stage, there are audiences to build, artists to attract, resources to gather, and, perhaps most importantly, an identity to establish. An inaugural production often serves as a mission statement as much as it does an evening of entertainment, offering a glimpse into what the company hopes to become. Ghost Boat Theater begins that journey with local playwright Jennifer Dice’s One Thing After Another, presented for one weekend only at Open Space for Arts & Community on Vashon Island, and if this production is any indication, the company intends to build its identity around imagination, collaboration, and a healthy sense of self.

There are countless ways to adapt a literary classic. Some productions approach the source material with unwavering reverence, preserving every ounce of its perceived importance. Others understand the material so thoroughly that they’re comfortable playing with it. One Thing After Another falls squarely into the latter category. Drawing inspiration from Homer’s The Odyssey, Jennifer Dice’s script transforms the ancient epic into an unabashedly theatrical comedy that is remarkably self-aware. It never takes itself seriously, and that’s precisely why it works. The production is in on the joke from beginning to end, and every performer recognizes that fact, inviting the audience to laugh right alongside them rather than simply at what unfolds onstage.

Before Odysseus ever embarks on his journey home, the audience is welcomed by the Toga Stompers—Natalie Copeland, Kenny Alton, Brooke Osment, Kevin Brockschmidt, and Kaycie Alanis—for a five-song pre-show set that immediately establishes the evening’s playful spirit. More than simply filling time before the lights dim, the acoustic quintet functions as an overture to the world Ghost Boat Theater has created. Throughout the performance, they remain an essential part of the storytelling, accompanying scenes while also portraying several of the Greek gods and other characters. Their harmonies are consistently strong, the ensemble plays together exceptionally well, and the music carries an infectious energy that extends into every corner of the production. Besides, it’s hard to go wrong with a band that includes both a washboard and a kazoo. Those delightfully homespun touches reinforce the show’s personality while reminding the audience that this is theatre embracing its own theatricality.

Closing on June 28 after its one-weekend run, One Thing After Another follows Odysseus’ long and famously difficult journey home following the Trojan War. Along the way, he encounters gods determined to test him, mythical creatures eager to stop him, and a seemingly endless string of obstacles standing between him and his wife, Penelope. Dice condenses Homer’s sprawling epic into an hilarious game of hot potato, an accessible, fast-paced retelling that remains faithful to the heart of the story while finding contemporary humor in both the mythology itself and the act of performing it. Even a handful of current political references find their way into the script, though they never overwhelm the narrative or distract from the central adventure.

Director Steven Sterne understands exactly what kind of show this is and wisely never attempts to make it anything else. Rather than grounding the mythology in realism, he embraces the theatricality inherent in Jennifer’s script. The result is a production that wears its heart on its sleeve while never pretending to be more serious than it intends. Audience interaction becomes another storytelling tool, scenic transitions happen with an intentional wink toward the audience, and even the live sound effects become part of the comedy. The actors recognize the show’s playful nature and commit wholeheartedly to it, creating an atmosphere where the audience is encouraged to become co-conspirators in the fun.

That collective commitment makes this an ensemble production in the truest sense. Every performer demonstrates an understanding that the comedy only works when everyone is playing the same game. Rather than chasing individual laughs, they build them together, leaning into the absurdity with complete confidence. Whether portraying Olympian gods, mythical monsters, or ordinary mortals caught in extraordinary circumstances, the cast fully embraces the production’s self-awareness. The audience is never laughing at the performers; they’re laughing with them because everyone involved understands the joke and invites the audience to share it.

Among the principals, Steve Hunter anchors the evening as Odysseus (well, one of them at least), the character serving as the audience’s guide through the increasingly ridiculous obstacles of his journey. Steve provides just enough sincerity to keep the audience invested while allowing the comedy swirling around him to flourish. Kay Taylor Yelinek displays wonderful versatility in her dual roles as Penelope and Nausicaa, while Natalie Copeland’s Athena carries the quiet confidence and wisdom befitting the goddess. Kevin Brockschmidt brings a commanding presence to both Poseidon and the King, and Kenny Alton demonstrates impressive comedic range as Zeus, the Cyclops, the Guard, and the Beggar, while also performing as a member of the Toga Stompers. Brooke Osment is particularly memorable, whether lending an eerie, ethereal quality to the Sirens or stepping into the role of Eolus and Circe. Maya Solirah contributes warmly as the Servant and Omega, while Axel Solirah moves comfortably between Telemachus and Pi. Kaycie Alanis and Meg Thompson round out the ensemble admirably as Beta and Delta while also joining the production’s many additional characters throughout the evening. The movement between characters, or between the band and the stage are fluid and quite fun to watch.

The design philosophy mirrors the production itself, proving that imagination often outweighs spectacle. Ramona Rhapsody’s costumes immediately establish the playful world of the show, complete with familiar togas and sandals that set the tone without overcomplicating the visual language. Robin Nettles’ lighting and Gabriel Dawson’s sound engineering allow present a nice background and for the music and dialogue to remain balanced throughout. Together, the creative team embraces simplicity in a way that encourages the audience’s imagination rather than replacing it.

One Thing After Another isn’t interested in presenting a solemn retelling of Homer’s epic. Instead, Jennifer Dice has created a version that affectionately pokes fun at both the source material and the conventions of theatre itself while never losing sight of the story underneath. If Ghost Boat Theater was looking to make a first impression, One Thing After Another accomplishes exactly that. It establishes a company unafraid to take risks, embrace theatricality, and trust its audience to join in the fun. For an inaugural production, it’s an impressive statement of purpose, one that suggests Vashon Island has gained a theatre company with a distinct personality and a bright future.

Ghost Boat Theater’s inaugural production of One Thing After Another has closed, but to learn more about the organization and it’s upcoming shows and programs, visit http://ghostboattheater.org/.

Photo credit: Steven Sterne