Review: FORTRESSED at Theatre 29

There is something orienting about driving up through the high desert to see a play — written by a woman, directed by a woman, and presented entirely by volunteers. I felt proud knowing this was what I was choosing to do with my theatre experience, my degree, and my position as a reviewer. Many people chase opportunities that are more outwardly famous. I chase art. I knew I would find it in Twentynine Palms. As one makes the drive from low desert to high, the art becomes less concerned with trends and more concerned with expressing one's truth and purpose.

I had seen playwright and director Sharianne Greer at the Palm Springs Cultural Center in The Bent's production of In the Wake, and I was genuinely taken by her character work as an actress — funny and real in a way many performers struggle to manage on stage. It never felt like she was performing. Her honesty was memorable, and when the opportunity arose to see more of her work, I got in the car and went. Greer is warm, curious, and a genuine visionary. She was kind enough to show us around the stage after the performance to walk us through details of her design work — the absolute absence of unnecessary gatekeeping that many theaters often engage in brought a real smile to my face and a warmth in my soul.

So let's get into the show.

Fortressed is an original comedy about a riot. Originally produced in Hollywood in 1994 at the Melrose Theatre, this highly physical comedy is the kind of show you return to see again and again. It has the same sturdy comedy legs as The Play That Goes Wrong — the first Broadway show I ever took myself to multiple times simply because revisiting the characters was such a pleasure. In the right circumstances, Fortressed could run for years as a commercial success — and later, remounted by union, non-union, and educational productions for decades to come. I see no reason Fortressed cannot be name-dropped alongside Noises Off, The Complete Works of William Shakespeare (Abridged), Lend Me a Tenor, The Foreigner, and The Play That Goes Wrong as canon of timeless historical comedy.

This production is presented on a truly beautiful set: the inner walls of the fortress where our characters reside. Medieval lighting and meticulous design details establish a world that says, clearly and immediately, fun stuff is going to happen here for the next hour and a half. And boy, did it.

I laughed. A lot.

Rebecca Osier as Lady Magdelena was hilarious — eight months pregnant, magnificently aloof, and completely committed to the comedy of her predicament. Her husband, Lord Bromley, played by Michael D. Simpson, is one of those actors who gives everything. His sense of urgency, determination, and physical comedy work as the clueless, exasperated lord of the house was a genuine delight from first entrance to last. Anna Lacazio, making her theatrical debut as Kate, was proof that sometimes you simply have it — no particular experience required. Her fully committed, delightfully unusual comedy style was welcome every time she appeared, aided by some very clever staging from Greer.

The plot follows Lord Bromley and Lady Magdelena as they grapple with a scarcity of millet and other provisions, sending the townspeople to the streets in revolt while these two bumbling figures scramble to respond. Into the chaos steps Marshall, played by J.T. Eberhard, delivering consistent laughs as the harried steward; Kevin A. Hayles as The Duke, bringing a uniquely captivating energy to the stage; and perhaps most unforgettably, Stormie Ingram as Charity the midwife — a performance so delightfully unhinged it deserves its own standing ovation. The script is laced with clever nods to actual historical moments, including what appears to be a winking reference to the 1992 LA riots — but I will leave you to discover those layers yourself. What I want is for you to come see it.

At the end of the production, Greer made the directorial choice to bring the backstage crew out to take a bow. I asked her flat out: when I direct, may I steal this signature move from you? She said yes. I loved it completely. By acknowledging everyone who makes theatrical magic happen, her direction was stamped with an authenticity I knew I would find. Greer is a director and playwright who loves this craft and understands it cannot be done without the people behind the wings. No starry eyes for a lead. Very "we did this together" energy — and the audience loved it.

Because it is so freaking funny.

As I have noted in past reviews, this is an ensemble show in the truest sense — a cast that is visibly, infectiously having the time of their lives on that lovely stage. The jokes are clever, timeless, and arrive one after another without a wasted breath. It is set in medieval times, which are, arguably, some of the funniest times in recorded history.

Just wait until you see the birthing chair. That is all I am going to say...

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