Closing out the political chapter of Riverside Theatre’s 2024-2025 season, following Derrick Wang’s opera Scala/Ginsburg, is Oregonian playwright Selina Fillinger’s POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive.
A fast-paced political farce set in the White House, the play follows seven women working behind the scenes to manage a chaotic day when an obscene blunder by the president throws his administration into crisis. As the women navigate personal and political challenges, they use wit, manipulation and sheer determination to keep the government — and their own careers — intact amidst absolute absurdity.
POTUS was originally meant to premiere on Broadway in 2020, but, due to some unignorable global circumstances, was postponed to 2022. It became the third-most produced play of 2023, according to People Magazine. Now, edging towards the end of 2024, POTUS remains relevant in highlighting the systemic issues that transcend any one POTUS and its broader commentary on the absurdity of political spectacle, media manipulation, and crisis management. The play makes clear how women from all walks of life can get a great deal done, even under extreme and deadly conditions.
I attended the Saturday, Oct. 5 show at Riverside, and now have the difficult task of determining the stand-out in this cast. Was it Jessica Link’s rendition of Harriet, so calmly holding down the fort with swift fluid movements of confidence and biting verbal jabs? Or Jordan Arnold’s striking facial expressions and downright motivational speeches as Jean? Maybe it was the unrecognizable Kristy Hartsgrove Mooers as Bernadette (thanks, Sarah Fried, for the excellent wigs!) and her hilariously delivered one-liners and slacked stance? Or could it be Jay’na Johnson’s straight man Margaret, who eventually devolves into the “I’m going to get shit done, weapon or not” trope? Might as well be Enjoli Valentine’s Chris, who uses every opportunity to expertly utilize her breast pump prop during monologues that make most folks want to exclaim “Exactly!”
So easily it could be HwaYoun Kang as Stephanie, who takes full advantage of the fact that she is likely the smartest person amongst the women characters, while also being the most chaotic. Or even Christina Sullivan’s adjective-named character, Dusty, whose comical mannerisms coupled with her effective determination reminds us Iowans are a force to be reckoned with. All the women of this cast do a knock-out job with this comedy — each one steps up to the plate and delivers incredibly memorable performances that made this hour and a half production a “DO NOT MISS.”
After the third or fourth boss-bitch song playing in the transitions between scenes (which were seamless, by the way, thanks to the ingenious set design by a very perceptive and talented Lucie Greene, whose crew wore Secret Service-inspired costumes designed by Joni Sackett), I began to ask myself we’d ever get to tell a story about women’s empowerment without it being accompanied by the lyrical stylings of Nicki Minaj, Beyoncé or Big Boss Vette. I mean, we have Stephanie (HwaYoun Kang) confidently spouting Arabic during the high of a drug trip and Bernadette (Kristy Hartsgrove Mooers) calling the audience “sweaty Beanie Babies.” The play is already fun and palatable.
The musical backdrop leads into a lovely dance number near the end of Act 2. As the story progressed, it became apparent how well these song choices, presumably made by sound designer Tyler Salow, aligned with the play’s empowering and hectic energy, heightening the comedic tensions and adding a modern, rebellious flair to the play’s already satirical take on politics.
A running joke in the play is when different characters take charge during the numerous frenzied situations throughout, only to receive a response from another, “Maybe she should be president?” As for this reviewer, I endorse Harriet for president, you know, “the one with the man haircut.” I wouldn’t let you fall.
Remaining performances
POTUS, Riverside Theatre
Thurs-Sat, Oct 10-12, 7:30 p.m. and a matinée showing Sun, Oct 13, 2 p.m.
Thurs-Sat, Oct 17-19, 7:30 p.m. and a matinée showing Sun, Oct 20, 2 p.m.
