Stage Review - The Time Machine (Tacoma Little Theatre)

Stage Review - The Time Machine
Presented By: Tacoma Little Theatre - Tacoma WA
Show Run: January 23 - February 8, 2026
Date Reviewed: Sunday, January 25, 2026 (Opening Weekend)
Run Time: 2 Hours, 5 Minutes (including a 15 minute intermission)
Reviewed by: Greg Heilman

Few works of science fiction have left as enduring a mark on popular imagination as H. G. Wells’ The Time Machine, a story that since its publication in 1895 has helped define the very idea of time travel for generations of readers and audiences. Michael D. Fox’s adaptation, now on stage at Tacoma Little Theatre through February 8 in a production under the direction of Kathy Pingel, honors that legacy while boldly reimagining it for the modern day. This West Coast premiere is at once an adventure through time and consequence, a philosophical exploration of morality and choice, and a theatrical caper that keeps its audience guessing not only what will happen next, but when.

What the playwright has accomplished here is no small feat: taking one of literature’s most enduring tales and bringing it into the modern day with contemporary sensibilities and considerations. This is not simply a staged retelling of Wells’ iconic story, but rather an expansion of it — an exploration into the scientific probability of time travel that remains technical without ever becoming inaccessible to those without a physics degree. At the same time, it is a not so gentle reminder that time is not something to be taken for granted and that a single event can alter the trajectory of multiple lives in an instant. Beneath the thrilling twists and temporal leaps is an even richer philosophical dissertation on the morality of changing the past in order to affect the future.

And yet, for all of its intellectual weight, The Time Machine is also simply a fun caper, unfolding across time and distance with the audience never quite knowing where — or when — the next turn will land. Fox balances suspense, humor, and thoughtfulness in a way that makes this an enormously enjoyable take on the Wells classic, one that feels both timeless and freshly immediate.

The story begins with a wonderfully enticing hook: a stranger arrives at the door of Bradley Mason with a large crate and a letter addressed to someone named Helene, each of which must be opened only by her, and only at a very specific time and date. The contents are both a mystery and a warning, something that sets off a series of events that takes the audience back, forward, and back again through time and space to solve a puzzle, and at the same time explore what exactly is possible — not just in the imagination, but in the physical reality of our world.

The production itself meets that ambition with Tacoma Little Theatre’s typically high standard of design and execution, particularly where scenic design and properties are concerned. Technical Director and Scenic Designer Blake R. York fills the stage with highly detailed set pieces and evocative visual storytelling, supported by projections that give context and depth as the narrative shifts through eras.

Some of the most memorable work comes through the props, especially the central object known as “the source,” the power supply being sought back and forth through time. Its physical manifestation is deceptively simple, but what makes it so effective is how it harkens back to something you might see in an old Hollywood science fiction film — an artifact imbued with the romance and wonder of the genre’s golden age. The coup de grâce, though, is the time machine itself: an exquisite creation that feels as though it has been plucked straight from the 1960 film. Even more impressively, it is not static — the time machine moves, and in one especially lovely moment between the older Helene and Skye, that motion, paired with projections and lighting, creates a striking theatrical effect, as though the stage itself is bending through time along with them.

The projections, using pieces of Tacoma Little Theatre’s LED screen strategically placed around the physical set pieces, provide an added depth of context with regard to location and atmosphere. They accentuate the grandeur of Morris Manor, lend an academic texture to Einstein’s laboratory, and even evoke the circus-like spectacle of a world’s fair. Rather than overwhelming the stage, the technology is deployed with intention, expanding the world of the play while keeping the storytelling anchored in the physical space.

Elijah Bellis’ lighting design and Dylan Twiner’s sound design work in tandem to create the sensation of time travel, building mood and tension with clarity and style. The underscore is particularly effective, shaping suspense beneath key moments, while the amplification of the actors remains at an ideal volume — present, supportive, and never distracting.

On the acting side, it’s a tale of two Helenes, and both are performed excellently, and similarly enough to be convincing that both actors are playing the same character, one just a bit older than the other. Meg Baker is a very good younger Helene, with a strong accent (credit to dialect coach Carter Thompson) and an intelligent stage presence. Meg’s Helene is not the shy, repressed woman that the men in her time would have her be. No, Meg’s Helene is a smart, strong, independent thinker who isn’t afraid to stand up for herself in a crowd overcome with misogyny. Dana Galagan adds a further amount of maturity to that younger version of Helene in her portrayal, just as smart and strong, but altogether wiser with age. Dana’s Helene acts as a sort of narrator in the story as well, a well-crafted distraction to fill the space of set changes while the story moves from present day to her own past. This keeps the pace of the show moving, and the story from dragging, despite the large set pieces that need to be moved on and off stage between these scenes.

Beyond the character of Helene, Brett Hunt brings a fun tone to his Bradley Mason, Helene’s son-in-law and father of Skye. Despite just having lost his wife (Skye’s mother) in an accident that left him hobbled, his positive outlook and love for his daughter are clear. Brett is funny and charming in this role, while Skye is inquisitive and challenging, a chip off her mother’s — and grandmother Helene’s — scientific block.

The rest of the group is well cast. Derek Mesford’s Gregory Whitman, Helene’s partner in their scientific endeavors, is solid. Ben Stahl is a big presence on stage in his multiple roles, and Hayden McManus is very good, especially in the world’s fair scene, where she is presenting recorded history’s greatest inventions to Helene and her young granddaughter. In fact, that is one of the best scenes of the show from a production standpoint — the use of props and sound effects makes it a fun and enjoyable diversion from the caper.

Reed Viydo is a fine H. G. Wells, the high point of his performance the reading of a letter from his character to Helene. It’s a heartfelt and poignant scene, and Reed is convincing in it, as he is throughout as the literary trailblazer. But out of the supporting cast, I especially like Tim Sherburn, first as Mr. Backman, the bringer of the strange parcel, and even more so as Albert Einstein in another extremely entertaining scene with a version of Helene that is chronologically somewhere between the primary versions of the character in the story.

The Time Machine at Tacoma Little Theatre is more than a clever science fiction adventure — it is the latest adaptation of a story that has helped define the very idea of time travel for generations, and a reminder of how fragile and consequential time truly is. This version invites us not only to marvel at the possibility of traveling through history, but to consider the moral cost of doing so, and the ways a single moment can ripple outward to reshape countless lives. With excellent performances, richly detailed design, and a production that balances spectacle with thoughtfulness, this is theatre that entertains while quietly asking its audience to reflect on the past, the future, and the choices that define the space between.

The Time Machine runs on stage at Tacoma Little Theatre through February 8. For more information, including ticket availability and sales, visit https://www.tacomalittletheatre.com/.

Photo credit: Dennis K. Photography