Review: THE HELLO GIRLS at Taproot Theatre

How do you know when a show is really, really good? Often it is something beyond the story, the performance, and the staging that takes you to a place that can only be described as magic. Less than twenty minutes into the show, I leaned over to my theater companion and quietly whispered, “I’m already planning when I can come back.” THE HELLO GIRLS at Taproot Theatre brings the magic in so many ways that you are left breathless with goosebumps on your skin, a tear in your eye, and a song in your heart.

THE HELLO GIRLS is a new musical that blends modern wit and pacing with historic charm and import. The show is based in the little known history of the first women to serve in the U.S. Army -  the bilingual telephone operators who were sent to France in World War I to help improve communications between Allied strongholds. Grace Banker, a chief operator at Bell Telephone Company was selected to lead the first group of women operators sent to France. Her charges included her longtime friend Suzanne Prevot, a young French immigrant Louise Lebreton, the young wife Bertha Hunt whose husband was already serving in the war, and Helen Hill, a young girl from Idaho. In addition to the trials and tribulations of serving in an active theater of war, Banker and her team also face the doubts and prejudice of their commanding officer, Captain Riser. The women’s bravery, ingenuity, and camaraderie weave an intricate tale of service and triumph.

The cast of THE HELLO GIRLS is stellar from top to bottom. Their multi-part harmonies that give the show its period flair also serve to prove the strength of each individual to carry their part and blend with the group. Cassi Q Kohl as Grace Banker is a perfect blend of fortitude and self doubt. Her portrayal allows Banker to be both vulnerable and strong. Whether comforting her charges or challenging leadership, it is her determination that defines her. Comic relief is added by Rebecca Cort (Suzanne Prevot), whose snappy retorts not only lighten some tense moments but also provide some hard-hitting truths. Her sass and bravado make Suzanne a woman you want in your corner. Helen Hill’s girl-next door naivety and charm are brought to life by Lauren Engstrom. In many ways, it is Hill that reminds us of the gravity of what they are doing, and Engstrom conveys all their fears and hopes in the oceans of her eyes. Bertha Hunt played by Jessica Ziegelbauer is keenly aware of the significance of their place in history. She is the first to offer an ear to listen and a shoulder to lean on. Ziegelbauer gives Hunt so much heart and compassion that we not only see it, but also feel it. Louise Lebreton played by Miranda Antoinette is full of spunk and spirit. Antoinette gives Lebreton an inner fire that burns through the toughest facades. Her high kicks and hijinx add flair and flavor to the bunch. But most importantly, Antoinette allows us to see past the exterior and into the heart of Lebreton with all its sincerity and beauty.

Private Eugen Matterson’s smirks and winks are perfectly placed by Jeremy Steckler who makes the most of Matterson’s key moments. Fune Tautala takes on the roles of Wessen, Ackerman, and Beaumont, but regardless of who he is playing, his clear tenor voice makes you wish the part were bigger, lasted longer, or had its own solo. Jeff Church as General John Pershing is commanding and direct.  Casey Raiha also takes on multiple roles, but it’s his portrayal of the German soldier that packs a punch. His drawn face and heavy movements lend a soberness to the scene. Though quiet and austere, he deftly drops a truth bomb about the nature of war. Rico Lastrapes as Captain Joseph Riser has the clearest character arc of the show. Yet Lastrapes’ performance allows him to not only surprise the audience but seemingly also surprise himself. Riser is intense, driven, and not without a few quips of his own, and Lastrapes paces him with precision while giving him a guarded warmth that peeks out just when we need it.

In addition to the cast, the stage is graced with the presence of the show’s musicians. Several cast members including Lastrapes, Cort, Steckler, Engstrom, and Raiha also play instruments. Music Direction by Michael Nutting lays the foundation to the show’s success. The music is vibrant. The harmonies are tight and precise. And the emotional interpretation elevates it all to something beyond just music. Scenic design by Mark Lund made the space seem huge by using all the vertical space available to make the multi-purpose building facade. The upper portion also served as an area for projections that enhanced the show without overwhelming it. Dialect Coach Marianna de Fazio had the entire cast on point with their pronunciations. Katy Tabb’s choreography takes the show to the next level. Despite the lack of big dance numbers, Tabb’s choreography makes a big impact because every movement is calculated for maximum effect. From gentle swaying while aboard their passage to France to the synchronized moves of Hello Girls, each song has just what it needs to magnify the tone and emotion of the moment.

The success of the cast and the artistic team is a feather in the cap of Director Karen Lund who knows not only how to bring together the right people who work for each spot, but also people who will work well together. The pacing and breath of the show follows the emotions as heated moments build and move quickly and poignant ones pause just enough to squeeze your heart. While the show has several transitions, you don’t feel them as set pieces are manipulated in various ways. Rowan Gallagher puts together an impressive and informative dramaturgical presentation in both the program and the upstairs display. Be sure to check out the QR codes for even more insights into The Hello Girls’ history. 

New works can be tricky in trying to find their footing and appeal to a wide audience. THE HELLO GIRLS does it all with ease. Whether you want historical insights, moving music, clever dialogue, likable characters, or a touch of humanity, this show delivers. The post pandemic world of theater has been hard to navigate. Heavy topics seem to be too much for audiences to digest, but the froth and fun of farces have started to wear a bit thin. The triumph of THE HELLO GIRLS is delivering a story that has significance and gravitas but also puts joy in your heart and a smile on your face. While some may say that I’ve gone overboard with superlatives, I’ll take a cue from Louise Lebreton and simply reply, “Je m’en fiche.”

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