Stages Houston is set to launch the world premiere of LET.HER.RIP., a play by Maggie Lou Rader that intertwines the significant historical events of the Matchgirls’ Strike of 1888 and the infamous Jack the Ripper murders.
This production marks an important milestone for Stages Houston, being the first project directed by their new artistic director, Derek Charles Livingston, and significant in that celebrated board member George C. Lancaster is one of the producers.
The play shines a light on two critical historical moments that underscore the exploitation and vulnerability of women, showcasing the trials faced by working-class women in Victorian England.
As the audience took their seats for the opening night, many, like myself, might have had minimal knowledge about the Matchgirls’ Strike.
However, this lack of familiarity seems to align perfectly with Rader’s intent.
The story begins with a lively celebration among three women, relishing their hard-won victory in a labor dispute.
Yet, the joy quickly dissipates as the sinister farce of murder unfolds, coinciding with the landmark decision that favored the matchgirls.
What strikingly emerges in the narrative is a deeper exploration of the lives of these women, framing the play not merely as a recounting of deaths but rather as a vibrant celebration of resilience, camaraderie, and the brave spirit of women of that era.
The camaraderie and shared struggles among the characters create an infectious joy, pulling the audience into their world and engendering a connection that makes the impending darkness even more poignant.
Derek Charles Livingston’s personal connection to the material, having collaborated with Rader on script development at the Utah Shakespeare Festival, enriches the authenticity of the production.
Their familiarity enables a seamless portrayal of a historical period where women began to assert their rights and identity, particularly poignant given today’s social climate.
Inspired by the tragic killing of Breonna Taylor in 2020, LET.HER.RIP. encapsulates a fierce struggle for female empowerment.
The blend of comedy with moments of gravity resonates brilliantly, as the playwright strikes a balance that offers both laughter and reflection on the societal issues at hand.
Upon entering the theater, it was clear from the opening scene that Livingston’s direction is energized from start to finish.
The cast, dominated by Skyler Sinclair, Melissa Pritchett, and Rachel Omotoso, presented strong performances that kept the audience engaged throughout the two-hour runtime.
Sinclair’s portrayal is both tough and vulnerable, while Pritchett’s character transformation was so well-executed that I barely recognized her for much of the first act.
Omotoso matched them both in power and presence, showcasing her talent alongside Houston’s accomplished actresses.
This stellar performance from the trio exemplifies a well-timed mixture of comedic flair and dramatic depth, a testament to their hard work and the cast’s collective chemistry.
As is customary with Stages Houston, the technical elements of the production do not go unnoticed.
Dialect coach Adi Cabral has achieved commendable results in creating natural-sounding accents, a notable achievement given the challenge of portraying Irish and English dialects in Houston.
The scenic design, executed by Liz Freese, creates an authentic backdrop that is both immersive and reflective of the time period, complete with details that resonate with the historical context.
Robert Leslie Meek’s sound design enhances the atmosphere, featuring the voices of well-known Houston actors in specially recorded lines for the production.
Alongside this, the charmingly crafted protest songs, credited to Alli Villines, contribute an extra layer of authenticity and resonance with the narrative.
Costume designer Leah Smith succeeds in perfectly capturing the essence of the period through intricate designs, thoughtfully incorporating details such as dirt on the hems of skirts, contributing to the overall visual storytelling.
The lighting design by Christina R. Gianelli effectively establishes the mood and tone throughout the performance, complementing the narrative’s ebb and flow.
As Livingston stands at the helm of this production, it is clear that Stages Houston is navigating a dynamic new direction in its artistic vision.
LET.HER.RIP. resonates with contemporary themes while providing an engaging experience for its audience.
The play invites reflection on both the past and present, intertwining themes of female empowerment and social justice with high-quality entertainment.
Rader’s script skillfully merges historical context with character-driven narratives, showcasing her background as an actress and her understanding of the theatrical experience.
This beautifully crafted production promises to be a landmark event, offering a performance worthy of attention and discussion well into the future.
Bringing together the stories of Mary Ann Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes, Mary Jane Kelly, and the matchstick women, LET.HER.RIP. challenges us to reflect on the enduring strength of women.
The show will run through June 22nd at Stages, located next to a parking garage for convenience.
Additionally, theatre-goers can enjoy drinks from the full bar that can be taken into the auditorium, enhancing the overall experience.
With a runtime of approximately two hours and a fifteen-minute intermission, audiences should note the use of coarse language, making it suitable for those aged fifteen and older.
In a summer packed with theatrical offerings, LET.HER.RIP. stands out as a must-see, with a message that remains relevant today.
image source from：https://www.broadwayworld.com/houston/article/Review-LETHERRIP-at-Stages-Houston-20250606
