Stage Review - POTUS (Harlequin Productions)
Stage Review - POTUS: Or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive
Presented By: Harlequin Productions - Olympia, WA
Show Run: August 22 - September 07, 2025
Date Reviewed: Thursday, September 04, 2025
Run Time: 1 Hour, 40 minutes (inclusive of a 15-minute intermission)
Reviewed By: Greg Heilman
By the time POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive takes off, you realize you’ve stumbled into the best kind of political satire — one that allows us to laugh at the mess without needing to pick a side. Selina Fillinger’s script imagines a White House in free fall, with a commander-in-chief so clumsy, careless, and catastrophically unfit that he doesn’t even appear on stage. Instead, the heavy lifting is left to the women around him, seven characters who scramble, scheme, and spin their way through disaster after disaster, their refrain echoing through the play: “Why isn’t she President?” The premise feels familiar — you’ll recognize bits and pieces of several real-life presidents folded into this unseen caricature — but the playwright smartly avoids partisan finger-pointing. What emerges instead is a satire about power, perception, and the women who are constantly asked to clean up the mess. The latest production of POTUS has just closed on stage at the State Theatre in Olympia, and this version, from Harlequin Productions and directed by Emily A. Rollie, is a wonderful means to cope with the stresses of our current political climate.
The ensemble is the heart of the show, and director Emily A. Rollie wisely keeps the spotlight balanced. There isn’t a lead character so much as a lineup of talented individuals coming together, each stepping forward when the moment demands it, then retreating back into the storm. Kimberlee Wolfson’s Harriet, the chief of staff, is the ballast. With her steady presence and sharp delivery, she radiates competence even as the White House ship threatens to sink. Amy Danneker’s Jean, the press secretary, is a particular delight. Danneker’s quick wit, expressive face, and knack for comic timing turn every scramble to “reframe the narrative” into a highlight reel of comedy. Kathryn Stahl’s Stephanie, the frazzled receptionist, delivers some of the show’s funniest moments, especially when wandering through a post-Tums haze in Act Two. Gabby Roarty’s Dusty, the President’s mistress, could have been played as a throwaway caricature, but Roarty makes her surprisingly endearing, even heroic in her own way, though perhaps not as much of a “floozy” as I’ve seen in other productions. Chelsey Sheppard’s Bernadette, the President’s ex-con sister, explodes into scenes with chaotic energy, a perfect foil to the more measured Harriet. Mykahla George’s Chris, the ambitious journalist, finds both humor and vulnerability in a role that might otherwise get lost in the whirlwind. And finally, Edsonya Charles’ First Lady Margaret grounds the production with a performance that is both emotional and intelligent, a reminder of what strength looks like when appearances matter most. What makes POTUS work at Harlequin is the synchronicity of the cast. This ensemble is in tune with one another, matching energy and pace so that the comedy never loses its beat. They’re marvelous at giving each other space while keeping the collective momentum rolling forward.
The production itself unfolds like two different plays. Act One lays the groundwork: it’s funny, but also a bit choppy, more about setting up characters than building momentum. Then comes Act Two, when everything clicks. The scene that opens the second act is easily the best in the show — a masterclass in ensemble rhythm, timing, and escalating absurdity. From that moment on, the play sails, the transitions tighten, and the technical elements lock into place.
Speaking of those technical elements: the design here is intentionally simple. Jeannie Beirne’s scenic design has the stately trappings of an executive suite without overplaying its hand. Props, chosen with purpose by properties manager Gail Thomason, keep the action grounded without distraction. Jason Kramer’s costumes land exactly where they should — sharp, clean, and true to character. Christina Barrigan’s lighting and Michael Gray’s sound sometimes felt tentative in the first act, but by Act Two they hit their stride, supporting the comedy instead of slowing it down.
In the end, POTUS succeeds as both sharp satire and hilarious farce. It doesn’t ask you to parse policies or take a side — it just invites you to recognize the absurdity of power and laugh at the chaos. And in today’s climate, that feels less like escapism and more like relief. It’s fast, funny, and refreshingly non-partisan — a reminder that while some men fumble their way through the highest office in the land, it’s often the women around them who keep the country, and the comedy, alive. And when a story that is this funny is told by a cast as good as this one is, it is a true delight.
POTUS: Or Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive has closed, but if you’d like more information about Harlequin Productions, including information about their upcoming shows and next season, visit https://www.harlequinproductions.org/.
Photo credit: Shanna Paxton Photography
