By AJ Jaffari
What happens when a group of women gathers to challenge the expectations of their time, only to discover that the fight for freedom is far more complicated than they imagined?
Berkeley Repertory Theatre continues its season with the West Coast premiere of Liberation, Bess Wohl’s Pulitzer Prize- and Tony Award-winning play, directed by Whitney White. Set primarily in the 1970s, Liberation follows a group of women gathering in an Ohio recreation center to discuss their lives, frustrations, and desires for something more. As their conversations unfold, the play explores what it truly means to be free, both as individuals and as women navigating a society that has historically placed limitations on their opportunities and identities. Through the perspective of a daughter revisiting her mother’s past, Wohl also examines how the experiences of one generation continue to shape the next.
This was my second experience with Wohl’s writing, having recently attended Barcelona at San Jose Stage Company. Admittedly, I found myself having a somewhat similar reaction to both productions. While I could appreciate the themes and ideas being explored, I struggled at times to feel completely connected to the material.
Liberation didn’t immediately draw me in, and I found the first act somewhat challenging to become invested in. There is certainly a great deal of dialogue and discussion, and while much of it serves an important purpose in establishing the characters and their individual perspectives, I occasionally found myself waiting for the story to develop into something more compelling.
That said, I thought the second act was considerably stronger.
As the characters’ experiences and relationships became more layered, I found myself increasingly interested in the questions Wohl was asking. There were several striking moments that challenged the audience to consider the complexities of feminism, freedom, and the expectations placed upon women across different generations. Some of these moments were genuinely surprising, while others invited a deeper reflection on the ways society has changed and, perhaps more importantly, the ways it hasn’t.
What I appreciate about a production like Liberation is that it doesn’t necessarily offer audiences a single interpretation or a neatly packaged message. Instead, it creates space for different perspectives and emotional responses.
I imagine that many women, particularly those who have experienced some of the societal expectations and limitations explored in the play, may find the material especially empowering or deeply personal. While I didn’t connect with every aspect of the story, I certainly recognize the importance of presenting work that encourages these conversations.
And ultimately, I think that’s one of the wonderful things about theatre. Two people can experience the exact same production and walk away with entirely different interpretations, both of which are equally worth discussing.
Where Liberation unquestionably succeeded for me was in its exceptional company of performers.
Katie Lowes leads the production as Lizzie, serving as the audience’s guide through the story and frequently breaking the fourth wall to address us directly. Lowes handles these transitions beautifully, creating a sense of intimacy that helps bridge the different timelines and perspectives. Having recently enjoyed her work in the television series The Hunting Wives, it was particularly exciting to see her command the stage in such a demanding theatrical role. She brings a natural charm and sincerity to the character, even during moments when the material becomes more emotionally complicated.
Irene Sofia Lucio was another standout as Isidora, delivering a wonderfully dynamic and sharply defined performance. There was a confidence and precision to her portrayal that I found consistently engaging. She brought tremendous energy to the stage, and I particularly appreciated the strength of her character’s convictions.
Felicia Curry was equally impressive as Celeste, offering a powerful and commanding performance. Curry brought a wonderful intensity to the role, and her ability to navigate the character’s emotional complexities made her a memorable presence throughout the evening.
But one of my favorite performances of the night came from Veronica Otim as Joanna.
Although Otim may not have had the same amount of stage time as some of the other actors, she possessed an incredible stage presence that immediately drew my attention whenever she appeared. There was something wonderfully assured about her performance, and I found her ability to command the space without overwhelming the ensemble particularly impressive. She was easily one of the evening’s strongest performers for me.
The remainder of the company, including Britt Faulkner, Mary Gordon Murray, Evelyn Spahr, and Gunnar Manchester, rounded out a talented ensemble that worked cohesively to bring Wohl’s layered characters and conversations to life.
As I’ve come to expect from Berkeley Rep, the production design was absolutely stellar.
David Zinn’s scenic design was wonderfully realized, transforming the Roda Theatre into a recreation center gymnasium that felt remarkably authentic. From the architectural details to the overall atmosphere of the space, the environment immediately established the world of the play. I particularly appreciated how realistic the setting felt, creating an intimate and believable backdrop for the conversations unfolding within it.
Cha See’s lighting design was another major highlight. Having recently experienced her work on Oh, Mary! at San Francisco’s Curran Theatre, I was delighted to see her distinctive theatrical sensibilities brought to another production. The lighting was beautifully executed, creating striking visual moments while complementing the shifting emotional tones of the story. There was a precision and artistry to the design that I found especially impressive.
Palmer Hefferan’s sound design was equally brilliant, adding another layer of depth to the production. The soundscape complemented the storytelling beautifully and helped establish the atmosphere throughout the evening. It’s always exciting to experience a production where the technical elements feel so thoughtfully integrated into the overall vision.
Under Whitney White’s direction, Liberation brings together an impressive ensemble and creative team to explore a story that is both historically rooted and undeniably relevant. While I personally found the pacing and emotional connection stronger in the second act, I appreciated the production’s willingness to challenge its audience and encourage thoughtful reflection.
Ultimately, Liberation was a production I admired perhaps more than I emotionally connected with. Its themes are undeniably important, and there were moments of genuine power and theatrical brilliance throughout the evening.
While Wohl’s particular style of storytelling may not always be my personal theatrical preference, I can certainly appreciate the craftsmanship, intention, and significance behind her work.
More importantly, I think there’s tremendous value in continuing to present stories like Liberation, particularly those that give voice to experiences and perspectives that have historically been overlooked or underrepresented.
With an extraordinary ensemble, stunning design, and several genuinely thought-provoking moments, Berkeley Rep has delivered a production that invites audiences to reflect, question, and perhaps even reconsider their own understanding of freedom.
And whether or not every moment resonated with me personally, I left appreciating the conversations this play has the potential to inspire.
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