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Theater Review: Harbinger Theatre’s Ladies’ Day: Big Hats, Big Dreams, and One Hell of a Play

Written by Staff on June 12, 2026

Theater Review: Harbinger Theatre’s Ladies’ Day: Big Hats, Big Dreams, and One Hell of a Play

-Joanna Palladino

Harbinger Theatre’s production of Amanda Whittington’s Ladies’ Day may be set around a trip to the races, but at its heart it is a story about friendship, self-discovery, and the unexpected moments that can change the course of an ordinary life. Inspired by the tradition of Britain’s famous Ladies’ Day races, the play follows four working-class women who leave behind the routine of fish factory life for a day of glamour, excitement, and possibility. What begins as a simple outing evolves into a journey of laughter, revelations, and renewed hope as each woman confronts her own dreams, disappointments, and desires.

Under Rachel Stewart’s assured direction, Harbinger Theatre delivers a production that embraces both the comedy and emotional depth of Whittington’s script. Stewart allows the humor to happen naturally while ensuring the play’s more poignant moments never feel forced. Stewart focuses on the relationship of the four women characters and the result is a production filled with warmth, authenticity, and heart.

At the center of the story are four fully realized women whose friendship feels entirely believable.

Robin Leary’s Pearl serves as the emotional anchor of the group. Leary brings warmth, wisdom, and quiet strength to the role, creating a woman who often places the needs of others before her own. Her performance provides much of the production’s emotional grounding and reminds us that even ordinary women desire passion, closeness, and connectedness. Leary’s performance is skillfully portrayed to prevent the audience from feeling judgement and instead evokes genuine empathy. The audience is fully invested in Pearl – in her story and her possibilities – and that is entirely due to the magnetic performance of Robin Leary.

Kitt LaPaix realistically portrays Jan, a woman that many will recognize instantly – a mother whose identify has been shaped by years of selflessness. Balancing humor with vulnerability, LaPaix captures a woman who continues to dream despite life’s setbacks, even if those dreams have been buried so deep to make room for her maternal sacrifices. Her performance radiates optimism while revealing the complexities beneath the surface. LaPaix is a joy to watch on stage.

Ashley Schuliger shines as Shelley, bringing boisterous charm and comic energy to the role. Schuliger skillfully reveals the humanity behind Shelly’s bravado, creating a character who is both entertaining and deeply relatable. Schuliger’s Shelley is a vivid reminder that even brightest personalities often cast the longest shadows. Schuliger marvelously reveals both Shelley’s exuberance and the quiet sadness she works so hard to conceal.

Tara Huhn delivers one of the evening’s most rewarding performances as Linda. Beginning as the most reserved member of the quartet, Linda’s journey toward greater confidence unfolds naturally and convincingly. Huhn handles every step of that transformation with endearing authenticity and incredible comedic delivery. Her ability to move effortlessly between laugh-out-loud moments and genuine emotional growth make Linda’s journey one of the most satisfying aspects of the production. She is simply a delight in every scene.

Tobias Martin demonstrates remarkable versatility in portraying multiple male characters throughout the production. Whether serving as comic relief or helping move the story forward, Martin creates a distinct personality for each role through changes in voice, posture, and energy. His work adds considerably to both the humor and momentum of the evening.

The entire crew should also be mentioned! Behind the scenes, an accomplished creative team helps bring the world of Ladies’ Day to life. Producer Patrick White oversees a production that clearly reflects a commitment to quality and collaboration. Stage Manager Jasmine Schatz keeps the evening running smoothly, ensuring seamless transitions and precise execution throughout the performance.

Jennifer Barr’s property design helps establish the play’s world with thoughtful details that support the storytelling without drawing attention away from it. Michael McDermott’s set design provides an effective and versatile playing space that allows the action to flow naturally while evoking the locations required by the story. John Meyers’ set construction helps McDermott’s set be fully realized. Barr, McDermott, and Meyers develop a convincing and perfectly saran wrapped fish factory that really helps to set the tone for the entire production. And the transformation to the racetrack at the Royal Ascot was functional and effective. Laura Darling’s lighting design supports the changing moods of the production.

What elevates this production is its remarkable relationship with music.

Sound Designer Shaya Reyes has crafted a musical experience that functions as an essential storytelling tool rather than mere background accompaniment. Long before the first scene begins, audiences are immersed in the world of the play through a carefully curated soundtrack that immediately establishes time, place, and emotional context.

The pre-show playlist features songs that many audience members will instantly recognize from the mid-2000s, including Gwen Stefani’s Hollaback Girl, The Black Eyed Peas’ Don’t Phunk With My Heart, and Weezer’s Beverly Hills. These songs do more than evoke a specific era; they summon memories of friendships, relationships, ambitions, and personal milestones, mirroring the experiences of the women on stage.

The musical journey continues through intermission with selections such as Refugees by The Tears, Lyla by Oasis, and Elvis Presley’s A Little Less Conversation. The choices feel deliberate, reflecting themes of longing, independence, reinvention, and possibility that run throughout the script.

Even the broader musical selections reveal a thoughtful approach, ranging from Tony Christie’s (Is This the Way to) Amarillo to works by Beethoven, Bach, Mozart, Vivaldi, Brahms, and Holst. The result is a rich sonic landscape that enhances the audience’s emotional connection to the story.

In reference to Tony Christie’s (Is This the Way to) Amarillo, most audience members may know the song only vaguely. Written by Neil Sedaka and Howard Greenfiled, the song occupies a unique place in British popular culture. Originally released in 1971, it enjoyed a remarkable revival in 2005, becoming one of the United Kingdom’s best-selling singles and a staple of celebrations, pubs, race-day gatherings, and communal singalongs. Just as Americans might associate Neil Diamond’s Sweet Caroline with ballparks and crowd participation, Britons often regard Amarillo as a shared cultural anthem. Christie himself is an especially fitting choice for Ladies’ Day. A Yorkshire-born performer whose career was built in the clubs and theaters of working-class Britain, he spent decades singing for the very communities represented in Whittington’s play. His music celebrates ordinary people and everyday experiences, making his presence in the soundtrack feel less like nostalgia and more like a tribute to the world these characters inhabit.

Music and memory are deeply connected, and Reyes understands this relationship beautifully. The songs become emotional touchstones that help illuminate the characters’ inner lives while simultaneously inviting audiences to reflect on their own. In a play about friendship, dreams, and second chances, the soundtrack serves as a powerful reminder that many of life’s most meaningful moments are remembered not only through images and conversations, but through the songs that accompanied them. Reye’s entire playlist includes:

Pre-Show

Hollaback Girl- Gwen Stefani
Switch- Will Smith
Don’t Phunk With My Heart- Black Eyed Peas
1, 2 Step – Ciara, Missy Elliott
One Word- Kelly Osbourne
1 Thing- Amerie
Beverly Hills – Weezer
Speed of Sound – Coldplay
Let Me Love You – Mario
Girl – Destiny’s Child
Lonely- Akron
I Like The Way- Bodyrockers

Intermission

Refugees- The Tears
A Little Less Conversation – Elvis Presley, Junkie XL
Lyla – Oasis
Owner of a Lonely Heart- Yes
In the Morning – The Coral
Shot You Down – Audio Bullys, Nancy Sinatra
Somewhere Else- Razorlight

Incidental Music – During the Show

(Is This The Way To) Amarillo – Tony Christie
Beethoven Piano Concerto No. 5, E Flat Major, Op. 73 – Julia Thorton and National Radio Orchestra of the Netherlands
Vivaldi Lute Concerto in D Major – Julia Thorton and National Radio Orchestra of the Netherlands
Karnival Kerfuffle – Kristofer Madigan
Bach Cello Suite No. 1 in G Major- Yo-Yo Ma
Vivaldi The Four Seasons Violin Concerto in E Major- Itzhak Perlman
Mozart Piano Concerto No. 12 in A Major- Saskia Giorgini
The Well-Tempered Clavier Book 2 Prelude No. 3- Bach, Anton Mejias
Brahams 3 Intermezzi Op. 117 No. 2 in B Flat Minor – Piotr Andrewszewski
The Planets Op. 32 IV The Bringer of Jollity – Gustav Holst, Berliner Philharmoniker

Harbinger Theatre’s Ladies’ Day succeeds because it recognizes the extraordinary within the ordinary. Through strong performances, thoughtful direction, excellent technical work, and a uniquely effective musical framework, this production celebrates friendship, resilience, and the possibility that it is never too late to take a chance on yourself. It is a thoroughly enjoyable evening of theater that leaves audiences smiling, reminiscing, and perhaps hearing a few familiar songs in their heads long after the final curtain call.

Grab your friends, put on a fancy hat for absolutely no reason at all, go and see Harbinger’s production of Ladies’ Day, and cheer these ladies on as they show you:

“A few times I’ve been around that track / So it’s not just gonna happen like that.”

– Gwen Stefani, Hollaback Girl