Stage Review - The Liar (Bremerton Community Theatre)
Stage Review - The Liar
Presented By: Bremerton Community Theatre - Bremerton, WA
Show Run: October 10 - October 19, 2025
Date Reviewed: Sunday, October 19, 2025 (Closing)
Run Time: 2 Hours, 30 Minutes (inclusive of a 15-minute intermission)
Reviewed By: Greg Heilman
I’ve written before about the construction of plays, comedies in particular — and The Liar, in particular, is one of those plays that almost feels like a clockwork mechanism. Between the wordplay, mistaken identities, and rhythmically timed confessions, the play runs on precision. Having just closed on October 19 at Bremerton Community Theatre, this production stands as an example of the kind of irresistible mix of wit and theatrical gymnastics that is both entertaining and fun for actors and audiences alike. The script is a gift to performers who can juggle language and timing, and a challenge to directors who must make all the moving parts look effortless. Directed by Kristi Ann Jacobson, this production embraces that challenge with an inventive spirit, a clear affection for the text, and a keen understanding of the play’s rhythm.
The Stewart Performance Hall, being a small black box space, doesn’t leave a lot of room for overly elaborate scenic design, but Kristi Ann and her team use the intimacy of the venue to their advantage. The set, designed by Gary Fetterplace, successfully depicts both the outdoor streets of Paris and the interior rooms of Clarice and Lucrece through a design that resembles a dollhouse, the front opening to reveal the rooms inside. The scenic concept is intentionally informal, and that choice works beautifully with the lighthearted tone of the play. Dale Borer’s lighting and Kristi Ann’s sound are nuanced, with subtle shifts that reflect the progression of Dorante’s increasingly tangled web of deceit, the sound deft and understated, while the lighting captures the story’s rhythm with thoughtful color and cueing.
The story itself is extremely funny, written in rhymed iambic pentameter that gives it the feel of a Shakespearean comedy, but with language far more accessible to a modern audience. It follows Dorante, a young man who can’t help but lie his way through every social encounter, spinning tales faster than anyone can verify them. David Ives’ adaptation sprinkles in contemporary references that land wonderfully with today’s crowds, and Kristi Ann leans into that humor. The jokes spill past the text into the production design — at one point, as Dorante’s lies pile up, the other characters sit back to watch his stories unfold while snacking on popcorn and sipping Starbucks. The wit continues in Kristin Bradberry’s costuming: subtle, clever touches like trading shoes for Crocs or adding an Apple Watch in Act 2 keep the audience laughing even in moments of visual transition, though in the whole of it, Kristin’s costumes are spectacularly designed. This is part of Kristi Ann’s gift as a director — she finds humor not only in Ives’ words, but in the physical and visual storytelling that surrounds them. The only lull comes late in Act 1, where a brief loss of momentum emerges as the length of the act slightly outpaces its punchlines. But the energy rebounds immediately after intermission and never falters again, propelling the show forward to its conclusion with consistent laughter.
The cast, to a person, is all in on the comedy. Each actor takes the witty source material and adds their own distinctive flavor of humor, bringing a contagious energy that fills the small space. And with ingenious hair, makeup, and superb costuming from Micha Winning and Stephanie Mikos, this ensemble is transported into a world of the past that playfully intersects with the present in tone and style.
It’s cliché to say, but it feels like this is a role Peadar Sanchez was born to play. The part of Dorante fits him like a glove. Peadar’s style is perfectly suited to the physical demands of the role, his movement expressive, his gestures grand but never overdone. He manages to make deceit look delightful, he handles Ives’ rhythmic dialogue with flair, giving the role both swagger and foolish charm. Wallace Ross, as Cliton, is his ideal counterweight — a man who cannot tell a lie, playing opposite one who cannot stop lying. Wallace’s honesty becomes its own running gag, his exasperation building in perfect comic contrast to Peadar’s charm.
Out of all the performances, though, it’s Sarah B. Denison’s turn as Alcippe that stands out most. The exuberance with which Sarah plays this character is infectious, and her chemistry with Peadar’s Dorante is among the production’s greatest strengths. Their sword fight — staged without actual swords — is one of the funniest sequences in the show, and credit is due to Lee Ann Hittenberger’s choreography for guiding them through the mock combat with such hilarious precision.
Ariel Doyle as Clarice exudes intelligence and composure, navigating the chaos around her with a sharp wit and commanding stage presence. Jillian Maynard brings Lucrece to life with quiet confidence and subtle comedic grace, giving her character just the right balance of sincerity and amusement. Sylvia Irvin delights as the dual-role Isabelle/Sabine, shifting between the two with comic agility and a glimmer of self-awareness that makes her transitions irresistible, Casey Bossert as Philiste gives the production a steady anchor, grounding the absurdity, and Ali Lovie Zollo as Geronte steals laughs with a wonderfully pompous sincerity that lands every time.
The other standout scene comes when Dorante teaches Cliton how to lie — a moment that starts as pure comedy, but, as the audience laughs, it suddenly feels sharper, more pointed. It’s a reminder that the show’s humor, though lighthearted, still echoes truths about deception and power. In that instant, the laughter catches for just a second — not because the play falters, but because it lands somewhere deeper.
The Bremerton Community Theatre production of The Liar stands out, not just for the precision of its comic wordplay, but for the joy of it all. You can feel the ensemble’s energy feeding off the laughter in the Stewart Performance Hall, like an endless shared and delightful moment between performer and audience. That’s the hallmark of good comedy: the sense that everyone, on stage and off, knows they’re part of a grand, ridiculous dance, and The Liar is a very good comedy. Kristi Ann Jacobson has assembled a cast of actors that seem tailor made for their roles, and with a design that excels in its simplicity along with her direction, The Liar is a hilarious romp that deserves more than just a two week run.
The Liar has closed at Bremerton Community Theatre, but for more information on the theatre and upcoming shows, visit https://www.bctshows.com/.
Photo credit: Kathy Berg
