Stage Review - The Revolutionists (Lakewood Playhouse)

Stage Review - The Revolutionists
Presented By: Lakewood Playhouse - Lakewood, WA
Show Run: September 12 - September 28, 2025
Date Reviewed: Sunday, September 14, 2025
Run Time: 1 Hour, 45 minutes (inclusive of a 15-minute intermission)
Reviewed By: Greg Heilman

In a time when questions of freedom, voice, and power still feel as relevant as ever, The Revolutionists offers a darkly comic, fast-paced exploration of rebellion and resistance set against the bloody backdrop of the French Revolution. Lauren Gunderson’s play, now on stage at Lakewood Playhouse through September 28, brings together four extraordinary women in a reimagined historical narrative that blends sharp wit with poignant tragedy.

One of the first things audiences will notice is how completely the theatre itself has been transformed for this production. From the lobby to the stage, and even the walls surrounding the theatre-in-the-round space, revolutionary-themed art featuring many photos of the actual cast creates an immersive experience. It’s a striking visual statement that reflects the changes happening at Lakewood Playhouse since artistic director Joseph C. Walsh took over. This opening show of the new season picks up right where last season’s momentum left off with The Spitfire Grill. Speaking of Joseph, his curtain speeches are becoming a highlight in their own right. Before Sunday’s matinee, he inspired the audience by comparing the theatre to a church and describing it as the audience’s “third space,” a home for connection and reflection beyond work and family.

At the heart of this production is Canae Machelle as playwright and activist Olympe de Gouges. Canae is enthusiastic and expressive, bringing excellent volume and authority to her performance. She navigates Olympe’s sharp humor and mounting desperation with finesse, making her the voice of both comedy and heartbreak. La Chelle Heard, as Marianne Angelle, starts a bit slowly and has a few moments early on where her dialogue is harder to catch when she faces away from the audience. But as the emotional stakes rise, especially in Act Two, La Chelle fully comes into her own. Her ability to deliver sarcasm with precision and raise the emotional temperature of the story is particularly evident in a combative scene with Canae’s Olympe—a true highlight of the production. The way that scene transitions so quickly from fiery confrontation to solemnity is a testament to both the actors’ skill and Maria-Tania Bandes B. Weingarden’s sharp direction.

Monique Otter-Johnson plays Charlotte Corday, the infamous assassin of Jean-Paul Marat, with a fierce confidence befitting a revolutionary. On alternate performances, Brookelyne Peterson takes on the role, ensuring the character’s impact remains consistent. Sage Stevens provides much of the show’s humor as Marie Antoinette, embodying the queen’s entitled naïveté with flair. Her big, bold pastel costumes and towering wig make her a visual standout, thanks to Nikita Mighell’s thoughtful costume design. While Sage’s character is primarily comic relief in the first act, it’s during Marie Antoinette’s trial in Act Two that she reveals her emotional depth, delivering a powerful and moving performance.

Even the stage manager is part of the story here. Justin A. Green plays the role on stage (Kay Meier is the actual stage manager of the show), interacting with the other characters in ways that add levity while maintaining a strong sense of authority and command. Her presence helps frame the action and provides a subtle meta-theatrical layer that works surprisingly well.

The costumes across the board do an excellent job of defining character: Marianne’s Caribbean-inspired headband and colors reflect her heritage and activism, Olympe’s simpler, middle-class attire matches her identity as a struggling writer, Charlotte’s rebellious pants and vest embody her revolutionary spirit, and Marie’s extravagant gowns make her a walking symbol of excess. Aleeza McCant’s scenic design is versatile and evocative, especially within the unique Lakewood theatre space, while Michelle Weingarden-Bandes’ lighting design and Stephania Lara’s sound design add depth to both the settings and emotional beats of the story. Gabrielle Jett’s properties design brings just the right finishing touches to this richly imagined world, with props and pieces that support the story very well.

At its core, The Revolutionists is about free speech, empowerment, self-determination, and the power of story. Its dialogue is modern, though its setting remains the turbulent days of the French Revolution, creating a bridge between past and present. Lakewood Playhouse’s production captures both the play’s humor and its urgency, making audiences laugh one moment and reflect deeply the next. By the end, as each woman meets her fate, the laughter fades into a resonant silence, leaving behind a powerful reminder of how vital it is to keep speaking, writing, and fighting for what matters. It’s a compelling opening to the season at Lakewood Playhouse, proof that under Joseph Walsh’s leadership, the organization is boldly stepping forward both artistically and thematically, carrying the momentum from last season’s The Spitfire Grill into a new era of thought-provoking and visually transformative theatre.

The Revolutionists runs on stage at Lakewood Playhouse through September 28. For more information, including ticket availability and sales, visit https://www.lakewoodplayhouse.org/.

Photo credit: Ashley Roy Simpson