‘Into the Breeches!’ @ Mainstage Irving-Las Colinas

Photos by Mike Morgan Photography and Kris Ikejiri

Carol M. Rice

When the men are off at war, what do the women do?

It’s a familiar question, especially in the plots of various World War I and II movies—but rarely is “put on a Shakespeare play” the answer, much less something as complicated as the Bard’s Henriad.

For those not in the know, Henriad refers to a group of William Shakespeare’s history plays that depict the rise of a series of English kings of the 1300-1400s. In the case of George Brant’s comedy-drama Into the Breeches!—currently running at Mainstage Las-Colinas—it’s described as Henry IV and Henry V combined (although it can encompass as many as four to eight plays).

Quite the ambitious undertaking for a small-town theatre company that’s missing its men.

Maggie Dalton has been her husband Andrew’s right hand at the Oberon Play House for 18 seasons. She has never directed (that’s man’s work) but has all Andrew’s notes and his full confidence (his letters are lovely) while he’s off fighting. Maggie’s challenge will be convincing Oberon’s aging diva Celeste, and the theatre’s board president Ellsworth Snow, that she can helm an all-female Henriad.

Fortunately for Maggie, Snow’s ditzy wife Winifred loves the idea and excitedly agrees to join the cast. Celeste is skeptical, but misses the stage so much she agrees to join the cast, assuming she’ll be playing the young Prince (and taking over for Maggie when she inevitably falters as the director).

When auditions roll around, only two young women show up—June and Grace—but Maggie is undaunted. She and stage manager Stuart forge ahead, planning for everyone (including Maggie herself) to take on multiple roles. When Stuart offers to step in as well, June protests that he should be out there fighting with the other men. The reason he’s not is revealed: Stuart is gay, and not allowed to enlist.

He isn’t the only one facing social bias. Ida, the company’s Black wardrobe mistress, also offers to take on some roles—but somehow a Black woman onstage is even more shocking to Maggie than her discovery that Stuart is gay.

The troubles keep coming: Maggie must repeatedly convince Snow that the show is a good idea. Celeste quits in outrage when she’s cast as the King, not the Prince—and fears she will now be typecast as O-L-D. Snow grudgingly agrees the show can go on, but only if Maggie gets Celeste to return, and if she can promise him his wife won’t make a fool of herself. There are worries about the men at the front—and rumors of audience members armed with tomatoes.

But the fate of the performance itself isn’t really the point of this play, as you might have guessed. Anyone who’s worked on a collective project, theatre-related or not, knows that teamwork and dedication from a group of vastly different people is the key to success, and that’s what Into the Breeches! is about.

Director Lisa Devine has put together a strong ensemble cast that includes local theatre veterans and players who are new to MainStage Irving-Las Colinas. As Maggie Dalton, Kim Harris is strong and determined, her belief in the Henriad unwavering. Mary-Margaret Pyeatt’s Celeste is every inch the diva who gradually becomes more of a team player. Either way, she’s fun and likeable.

Stan Graner lets us see Ellsworth Snow’s desire to protect the theatre conflicting with his utter devotion to his wife. As Winifred Snow, Darise Error gets to play much of the show’s comedy. Her transformation from quiet, uncertain housewife to the boisterous Falstaff is entertaining to watch.

Lexa Childress is June, a feminine housewife who is all for supporting the war effort, yet isn’t sure about wearing pants to play a man onstage. As Grace, Natalie Hinds is in awe of the majestic Celeste, but eventually trusts in herself enough to play Celeste’s equal onstage.

Matthew Good brings a sweet humanity to Stuart while also being Maggie’s organizational right hand. His scenes with Anell Rey as Ida are touching, and highlight the fact that they have both been outcasts for too long.

Rey is fabulous as Ida, evolving from mousy costumer in the corner to a strong woman standing up for herself—and ultimately becoming a peer among the actors. Her death scene as Hotspur during a “rehearsal” is one of the strongest pieces of acting in the show.

The period costumes by Michael A. Robinson/Dallas Costume Shoppe work well for the characters (although the uneven hemlines on many of them drove my companion and me a little crazy). The simple set by Joseph Cummings was almost too simple, with the drop for the eventual Shakespeare play appearing out of nowhere. I did love the false proscenium created for the Oberon Play House, but felt that too many scenes took place or started in the audience, making them hard to watch, especially for audience members close to the stage. At least they were well lit by lighting designer Lisa Miller.

Into the Breeches! is a lovely, timely play that deals with acceptance and collaboration under stressful circumstances, and it’s a testament to the adage “The show must go on.” Director Lisa Devine has concentrated much more on the message of the piece than the comedy, but she and MainStage Irving-Las Colinas have put together a solid night of theatre.

WHEN: March 7-22, 2025
WHERE: Irving Arts Center, 3333 N. MacArthur Blvd., Irving TX
WEB: mainstageirving.com