John Wolbers puts his imagination to wonderful use in “Progress,” his riveting new drama about Queen Elizabeth I. Prism Theatre Company is giving the play its world premiere in an excellent production that continues through July 12 at the Kranzberg Black Box Theatre.

The play’s three scenes take place in different years and castles but always in the same room—the Privy Chamber. It was private apartment where the Queen could prepare for her official duties and unwind afterwards.

The Ladies of the Privy Chamber were a select group of noblewomen who met the Queen’s personal needs. They dressed her, managed her wardrobe and jewels, and provided companionship and counsel.

The play focuses on Bess, the Queen, and five Ladies of the Privy Chamber. They are her refuge from the stifling formality, intrigue, and pressure of the court, but the relationships are not equal. The Ladies may be Bess’s most intimate companions, but they must not overstep their place. Incurring the Queen’s wrath can have dire consequences.

Wolbers does not make the mistake of straying from actual events to suit his narrative. Instead, he focuses on private moments that that are not recorded in histories. He gives the characters vivid, distinctive personalities that are displayed in beautifully written dialogue and compelling interactions about the public and private challenges facing a woman on a throne in a male-dominated world.

The following table lists the characters by their familiar names in the play, their full names in history, and their portrayers in the play.

The superb Prism cast turns in deeply felt, highly detailed portrayals of characters who are capable of growth. These performances are gripping throughout.

The actors are amazingly adept at changing Bess’s clothes to give her a different but equally resplendent look for each session at court. Liz Henning’s costumes are extraordinary in both their quality and their quantity. Assistance from other theaters is acknowledged in the special thanks, and we must be grateful that St. Louis companies are so supportive of one another.

Katherine Stepanek’s scenic bisects the theater with a central performance area between two banks of seating. Trish Brown’s direction fully exploits the possibilities of this richly decorated stage. The sense of a setting fit for a queen is enhanced by Stepanek’s lighting and Bryn McLaughlin’s music and sound design. Riley Capp choreographed the fighting.

I look forward to seeing “Progress” again in the future productions I expect to follow this one.

—Gerry Kowarsky

Photo by Leo Young
From the left: Michelle Hand as Bess, Nicole Angeli as Blanche, Carly Uding as Sidney in “Progress.”