She attended Radcliffe (technically, Harvard). She had a brilliant future in front of her. She had the world at her feet. Just like Marlon Brandon said On The Waterfront, she could’ve been a contender, she could’ve been somebody. Instead, Jo (Anaïs Fairweather) is now 37, still lives with her mom, works as a secretary, has no boyfriend, and sometimes she looks like a schlump.
The occasional fun Jo enjoys is going out with her mom Francine (Susan Peahl) for a movie and some ice cream. Jo seems wrapped up in a mental stupor, standing still while life passes by at the speed of light. The monotony of her existence is sucking her spirit into oblivion, one day at a time. But there’s hope. Jo starts to hang out with her co-worker Sherry (Bailey Humiston), a firecracker who motivates Jo to go out and fix herself.
There’s also Donny (Jeff Lorch), the butcher who asks Jo to go to their high school reunion together. He even gifts Jo some fresh beef cuts, courtesy of the house. Flirting and steak sound like an irresistible combination to fill up an empty life and an empty stomach. But, is it too good to be true?
Right when the universe is aligning for Jo, Melissa Ross introduces a powerful element in creative writing: Irony. By this time, the audience is already hooked, rooting for the protagonist. Ross develops her characters to make them feel relatable. Jo wants to escape, longing for a spark to set her life in motion. This triggers emotions, feelings, and memories, transforming Jo into an entity of strength and vulnerability that make her disarmingly appealing.
The supporting characters take a life of their own, longing for a better life, and just like Jo, suffering the dreadful feeling of being left behind. Peahl, Humiston, and Lorch are fantastic; they capture the entrapments of apparent stability and the exciting new opportunities opening up for Jo. What fascinates about Ross’ writing is her ability to create those suspension periods; the three supporting characters will either unlock Jo’s happiness or shatter her life once and for all.
Attuned with the excellent writing and the exceptional direction of Ann Bronston, Fairweather’s performance is simply magnetic. Her transformation leads the audience to a journey of passive acceptance of her fate to the active search of possibilities, mainly triggered by the chance of love. She takes her character to that crossroad where there’s only one turn, left or right, ultimate realization or utter misery.
Making the most of the stage, Bronston matches the action with a unique lighting and great 80s fashion. The blocking adds dynamism that pairs up well with the sharp dialogue, making this a thrilling production that translates faithfully the essence of the story. Do not miss the opportunity to experience the enchanting trinity of script, acting, and directing. It will make you think, cry, and laugh. It’s theatre at its best, another big win for the creative minds of Rogue Machine Production.
Nice Girl
Rogue Machine Theatre (Upstairs at the Henry Murray Stage in the Matrix Theatre)
7657 Melrose Ave,
Los Angeles, CA 90046
Opening: 5pm on Saturday, June 7, 2025
Schedule: 8pm Fridays, Mondays; 5pm Saturdays, Sundays
(no performances on June 9, 13, 14, and July 4)
Closing: July 20, 2025
Tickets: roguemachinetheatre.org
Written by Melissa Ross
Directed by Ann Bronston
Producers: Lexi Sloan, Guillermo Cienfuegos, Athena Saxon
Associate Producer: Chisom Okoye
A Rogue Machine Production
Cast: Anaïs Fairweather as Jo. Bailey Humiston as Sherry. Jeff Lorch as Donny. Susan Peahl as Francine.
Creative team: Rachel Frost (Assistant director), Barbara Kallir (Scenic and Lighting Design), Christopher Moscatiello (Sound Design), Christine Cover Ferro (Costume Design), Lauren Lovett (Dialect Coach), Grant Gerrard (Technical director), Victoria Hoffman (Casting), Rachel Manheimer (Production Stage Manager).
