In Colorado Springs, this production of Larissa FastHorse’s comedy entertains and discomforts in equal measure

Staging a biting satire like The Thanksgiving Play by Larissa FastHorse is no small feat, yet Springs Ensemble Theatre (SET) delivers a memorable production at the Fifty-Niner Speakeasy. SET’s take on FastHorse’s work is both hilarious and thought-provoking, skillfully walking the fine line between laugh-out-loud absurdity and stinging cultural commentary, even if a few performances and technical elements occasionally miss the mark.

The production, directed by SET’s Kate Hertz, runs through November 24 and serves as a sharp comedic critique of four well-intentioned but misguided white theatre artists determined to craft a culturally sensitive Thanksgiving pageant in honor of Native American Heritage Month.

Logan (Amy Keating), the overly earnest director, spearheads the project with relentless zeal, aided by her partner, Jaxton (Matt Radcliffe), yoga enthusiast and actor. Alicia (Margaret Brophy), a superficial actress hired for her supposed diversity credentials, and Caden (Andrew Oleson), a history teacher determined to achieve historical accuracy, round out the troupe. What ensues is a riotous spectacle of privilege, cluelessness, and misplaced earnestness that both entertains and forces introspection.

Margaret Brophy, left and Amy Keating in ‘The Thanksgiving Play’ | Photo: SET

Intimate setup

This was my first visit to SET’s new home within the backroom of the Fifty-Miner Speakeasy, located behind the Dice Guys Game Store in Old Colorado City. The unexpected entrance through a secret door into a cozy, unconventional theater space instantly set the tone for an evening that promised (and delivered) whimsy and surprise.

Surrounded by communal tables and board games, the intimate setup lent itself well to the play’s classroom setting. Despite its quirky charm, the venue posed challenges — most notably, uneven lighting. While the limited rigging was able to effectively light the small, raised stage, scenes performed downstage or on ground-level blocks suffered from visibility issues.

Yet, the creative team’s resourceful design choices, especially Matt Phillips’ scenic design, brought the theatre classroom to life with impressive detail. From a well-worn teacher’s desk and rows of bookshelves to a prominently placed American flag and clock, the space felt authentically lived in.

This otherwise believable classroom was humorously filled with inappropriate posters like Assassins and M. Butterfly, adding a cheeky layer to the design. The whiteboard, used creatively throughout the play, provided great comic relief as it was scrawled upon during scenes, often with hilariously misguided messages. Accented with festive touches like fall leaves, these design elements create a layered environment for the show’s satire to unfold.

Matt Radcliffe and Andrew Oleson in ‘The Thanksgiving Play’ | Photo: SET

Fast-moving plot

The Thanksgiving Play unfolds quickly, maintaining a brisk pace through its roughly 80-minute runtime. Though the program suggests a slightly longer performance, this leaner cut kept energy high and minimized any potential lulls. The pacing highlighted the play’s strengths as a sharp, chaotic satire, though it arguably rendered its intermission superfluous.

Heather Clark costuming effectively underscores each character’s identity. Alicia’s youthful energy and obliviousness are captured through her playful miniskirt and bold red top, exuding confidence and a touch of self-centeredness. Jaxton’s flowy shirts, scarf, and yoga pants perfectly parody the free-spirit persona, adding an extra layer of comedic flair. In contrast, Logan and Caden’s professional attire underscores their earnest — if painfully misguided — approaches, anchoring them as more serious yet equally flawed players in this chaotic pageant.

Among the cast, Matt Radcliffe as Jaxton shines brightest. His portrayal of an enlightened yoga enthusiast brims with confident cluelessness, toeing the line between self-absorbed righteousness and genuinely humorous oblivion. Radcliffe’s commitment to physical comedy, especially during an absurd battle scene and a “decoupling” ritual with Logan, is a standout aspect of the show.

Margaret Brophy’s Alicia is another gem. Her character, a superficial actress who takes “versatile” headshots in culturally insensitive costumes for more gigs, exudes a delicious mix of disinterest and opportunism. Brophy’s performance contrasts beautifully with the heightened zaniness of her peers, bringing a much-needed laid-back energy to the ensemble.

Amy Keating as Logan, the overzealous director of this doomed project, does what she can with a challenging role. While she convincingly drives the plot, Logan’s humor often feels forced; Keating portrays her as more of an obstacle to other characters’ arcs rather than a true comedic force in her own right. Similarly, Andrew Oleson’s Caden, the historically obsessed teacher, has endearing moments of nerdy enthusiasm but struggles to land many of his jokes, particularly his unrequited affections for Alicia and pedantic musings on historical accuracy.

Video touches

A particularly inventive touch in this production is the use of video interstitials designed by Hertz and Bryse Taylor Boynton. Based on real educational “lesson plans,” these skits offer exaggerated glimpses into misguided attempts to educate about Thanksgiving and Native history. The puppet segment in the second act stood out as both hilarious and cringe-inducing, encapsulating the humor and awkwardness that the play thrives on.

Ultimately, The Thanksgiving Play at SET succeeds as an engaging, thought-provoking comedy that exposes the absurdity of well-intentioned but superficial allyship. While a few performances falter and technical limitations persist, they do not detract from an otherwise impressive production. If you’re ready to laugh — and cringe — at the pitfalls of misguided “wokeness,” this play is worth a trip to Old Colorado City.