Waiting in the Wings Review: Pure Ensemble Magic in Topanga

Nestled in the heart of Topanga Canyon dwells a beautiful historic treasure: Will Geer’s Theatricum Botanicum. Two outdoor amphitheaters sit within the natural canyon, offering audiences the chance to relax and enjoy nature as the local birds and frogs play a live chorus for every production.

Currently playing in Theatricum’s 2026 repertory season is Noël Coward’s Waiting in the Wings. Set in a charity home for retired actresses, the play serves as a poignant tribute to the theatre itself, watching former grand dames of the stage endure old age together. As Coward famously noted, “The play contains, beneath the froth of some of its lighter moments, the basic truth that old age needn’t be nearly so dreary and sad as it is supposed to be, provided you greet it with humor and live it with courage.”

World-Class Pros

Coward’s material is notoriously challenging, but this ensemble, free of distracting celebrity star-vehicles and composed entirely of seasoned, world-class veterans of the Los Angeles stage and screen carries the dense, difficult text with an effortless collective grace. Under the direction of Willow Geer, the production wisely prioritizes structural foundations over cheap laughs, beautifully grounding the play’s early movements so that its organic energy can grow.

“Coward shines a light on a portion of society that our culture too often forgets and stops listening to, and he does so with tenderness, humor, and profound respect,” says Director Geer. “These are voices shaped by experience, artistry, and survival, and the play invites us to listen to them.”

Powerhouse Cast

The powerhouse cast delivers outstanding performances across the board. Jan Wikstrom is wonderful as Mae Davenport, as is Susan Angelo playing her lifelong rival, Lotta Banbridge. Katherine Griffith delivers a delightfully jaunty and much-needed performance of “Oh, Mr. Kaiser” in Act III.

Ellen Geer serves as the production’s perfect anchor as Sarita Myrtle; she provides brilliant comedic relief and a sharp sobriety check, grounding the script’s more absurd moments with real human vulnerability. She reminds us all that in spite of the humor and camaraderie, “Growing old ain’t for sissies,” to quote Bette Davis.

A Vibrant, Deep Ensemble

The depth of talent on the Topanga stage is incredible. Jane Macfie is excellent as Maudie Melrose, a former soubrette of musical comedies. Though true stardom may have eluded their characters, Michele Schultz (Estelle Craven) and Victoria Hilyard (Almina Clare) share an electric, real comedic connection alongside Cynthia Kania’s sharp Cora Clarke. Earnestine Phillips is a delightful and formidable presence as Deirdre O’Malley.

The strong supporting ensemble of “The Wings” keeps the production seamlessly aloft. Miranda Heath breathes life into Miss Archie, Will Collyer is a compelling Perry Lascoe, and Natalia Jofre excels as the classic, put-upon maid. Offir Mashiah plays Dora, Lotta’s fiercely faithful former dresser, while Billy Walker brings great nuance to Lotta’s son, Alan. Tim Sabourin is refreshing and sweet as Osgood Meeker, Asa Fris makes the absolute most of his brief but frequent time onstage as the good Dr. Jevons, and Isabel Stallings shines as the prying journalist Zelda Fenwick.

A Long Haul Recontextualized

The exceptional creative team matches the caliber of the cast. Costume designer Vicki Conrad, lighting designer Hayden Kirschbaum, and sound designer Marc Antonio Pritchett craft a vivid world, seamlessly supported by prop master Darby Huffaker, wardrobe supervisor Beth Eslick, assistant director Aubrey Saverino, production stage manager Karen Osborne, and assistant stage manager Sky Wahl.

It is easy to enjoy a theatrical production in such a beautiful setting surrounded by nature, community, and history, especially with such a talented cast. However, it must be said that even with these excellent performances, the three-hour runtime makes the evening a bit of a long haul for the audience.

This exhaustion, however, is a symptom of the script itself rather than a fault of the production. When Waiting in the Wings originally premiered in 1960, London critics famously ripped it to shreds. The brutal reception even prompted Coward’s longtime partner, Graham Payn, to permanently retire from the stage. Even during its 1999 Broadway revival, CurtainUp noted that as good as the cast was, they ‘can’t transform Waiting in the Wings into the first-rate play it never was.‘

Chekhovian dignity

Yet, learning that contemporary audiences looked past those harsh reviews to find an ‘almost Chekhovian dignity and melancholy’ completely redefines how one views this piece. Once you look at the play through that specific lens, your mind opens to what Coward was truly trying to achieve. It stops feeling like a clunky, over-long melodrama and transforms into a deliberate, deeply moving study of aging, memory, and artistic survival. By leaning into that quiet, soulful dignity rather than chasing cheap, fast-paced laughs, this production ultimately triumphs over the script’s historical flaws and delivers a shared theatrical masterwork.

Waiting in the Wings originally premiered in Dublin in August 1960 before transferring to London’s West End. Four decades later, in 1999, the play opened on Broadway, running for 186 performances.

A Rich History:

Will Geer’s Theatricum Botanicum dates back to the early 1950s when Will Geer, a victim of the McCarthy-era blacklist, opened a theater for blacklisted actors and folk singers on his Topanga property. Friends like Ford Rainey, Della Reese, Pete Seeger, and Woody Guthrie performed on the dirt stage, igniting both artistic expression and grassroots activism.

Still, from May through October, Theatricum continues to be an essential haven for compassion, community, and artistic excellence. The theater remains a beloved historical landmark and a multiple award-winner, including the prestigious Margaret Harford Award for “sustained excellence” from the Los Angeles Drama Critics Circle.

True Repertory Rotation:

Unlike most companies in L.A. that stage continuous runs of a single play, Theatricum operates in true repertory. Each of the mainstage productions opens in rapid succession and is added to the rotation. Waiting in the Wings runs every weekend through October 3 in rotation with Romeo and Juliet, A Midsummer Night’s Dream, and Treasure Island. The People of Pompei, the newest work from Topanga-based playwright Bernardo Cubría, joins the repertory season on August 1. By August, all five plays are in performance, making it possible to see the entire season over the course of a single week.

• Where: 1419 North Topanga Canyon Blvd., Topanga (midway between Malibu and the San Fernando Valley).
• Tickets: $15 to $63 via theatricum.com or (310) 455-3723.
• Special Dates:
  • Monday, Aug. 17: Pay-What-You-Will performance (includes a 30-minute pre-show discussion at 6:30 p.m.).
  • Sunday, Aug. 23: Features an ASL interpreter.