Review: FREDDIE: A GIRL at Taffety Punk Theatre Company

Freddie: A Girl (now being presented by the Taffety Punk Theatre Company) is a triumph of theatrical form over content. The subject of resistance fighters against the Nazis in World War II is obviously a fraught and very serious business especially in these polarized times-- but Director Lise Bruneau and the Playwright Kelsey Mesa have subverted the material into a thrilling, pulpy, and brightly- colored panoply of moods and episodic high-adrenaline impressions. Each scene in this uniquely interesting play highlight the often-contradictory demands of standing up to do what is right no matter what the cost.  Bravery in the realm of doing what is right requires constant drive and dedication but this fact is not presented via linear stereotypical tropes but, rather, via constant almost-impressionistic episodic action.

This intriguing world premiere by playwright Kelsey Mesa frames historical background of the resistance fighters Freddie and Truus Oversteegen from 1940 to 1945 amidst the human drama, fierce loyalty and even the humor and pride---in episodic, almost pulp wartime comic book design style.  These young resistance fighters were only 15 and 17 years when they entered the resistance.

Conventional tropes are cast aside and each scene that unfolds catches one unawares. Director Lise Bruneau has truly captured every nook, cranny and nuance of her very interactive sisters ---as they fight in the Dutch resistance.

The small basement space of this atmosphere-laden theatre space literally and figuratively manages to portray and compress such episodic scenes as the sisters bicycling to assassinate their targets, the sisters meeting their new friend Hannie Schaft (played with natural aplomb by Hana Clarice), and meeting with their  comrade Frans ---(played with earnest gravity by Dan Crane).

Sadie O’Conor as Truus Oversteegen plays beautifully off the more ostensibly vulnerable character of her sister.

A feminist bent/sisterhood is a primary theme as the shared joys and triumphs of these sisters is celebrated (along with  their beloved friend Hannie).  This theme is very powerful as the women were somewhat above suspicion and could operate more surreptitiously.

Some small intimations of Quentin Tarantino’s “Inglorious Basterds” appears around the edges of this highly relevant and important subject matter.

The history of this play, based on the real life Oversteegen sisters, is harrowing in its ultimate implications as Hannie Schaft was executed by the Dutch Nazi officials on 17 April 1945.  Truus Oversteegen and Freddie Oversteegen tried to forge their memories of grief, betrayal and heroism into keeping the visibility and legacy of the Holocaust alive.

In a riveting final third of the play-there is a coda-like feel of sorts-- the closing scenes of the play standout in accretion of cumulative power.  The marvelously authoritative performance of Tonya Beckman as the elderly Freddie (Oversteegen) Dekker pierces the heart as this feisty character (that we have grown to love when enacted  by Tia Shearer Bassett in the earlier scenes as the younger Freddie Oversteegen) reminisces about the war robbing the girls of an innocent youth. She grieve that every person she killed is still with her.

Scenic Designer Jessica Moretti has designed brilliant vivid colors  orange, reds, and yellows to evoke an almost wartime comic-strip look to the proceedings. The Oversteeegen sisters’ bicycles with their vivid red color immediately catch the eye as does the orange scenic design markings.

Elizabeth Morton’s costume design is very accurate and detailed for the period of time portrayed. 

Lighting design by Katie McCreary is haunting and surprising in its spontaneity.

Sound  design by Lee Martinez-Cruz is beautifully enhancing to the mood of the play.

Scenic manifestation by Christian Sullivan---synergizes all the physical props and design into a splendid representation of the play’s text.

Who will heal the hero?  What are the costs of war?   What is the price of bravery ----does heroism does not come without a cost?  All of these themes percolate and bubble throughout the play.

In this very intimate theatre space, this play unwinds in surprising ways that seem deceptively simple at first but soon, grow into complexity. Not since off -off Broadway, have I seen such an interesting theatre-space.

The ultimate power of this fine play is the fact that we cannot resist what me must do in the face of conscience: The thought arises when faced with the courage of these resistance fighters against the cruelty of tyrants--: “If we don’t do it, who will?”.

Running Time: One-hundred minutes without intermission

Freddie: A Girl is presented by the Taffety Punk Theatre Company and runs through September 19, 2026, at the Capitol Hill Arts Workshop located at 545 7th Street, SE, Washington, DC,20003. 

Photo credit: L- R Hana Clarice as Hannie Schaft, Tia Shearer Bassett as Freddie Oversteegen, and Sadie O'Conor as Truus Oversteegen in Taffety Punk Theatre Company's production of Freddie: A Girl.

Reader Reviews

To post a comment, you must register and login.

Need more Washington, DC Theatre News in your life?
Sign up for all the news on the Summer season, discounts & more...