Cameron Nye, Contributing Photographer

After stitching, hemming and seaming for four performances, the Dramat’s production of “Intimate Apparel” finished its last show with quiet grace and emotional resonance on Saturday. Written by Lynn Nottage and serving as this year’s spring Dramat Mainstage, the play was performed with a level of skill and endearment that left audiences captivated. 

Set in 1905 New York City, “Intimate Apparel” follows Esther Mills, a 35-year-old Black seamstress who dreams of opening a beauty salon for Black women. Living in a boarding house under Mrs. Dickson’s supervision, Esther finds companionship in her clients, including wealthy socialite Mrs. Van Buren and sex worker Mayme. One day, she receives a letter from George Armstrong, a laborer working on the Panama Canal. As this letter-fueled romance continues, she falls in love with the idea of him as her clients help her write these love letters. 

At the same time, Esther shares a forbidden, unspoken connection with Mr. Marks, a Jewish fabric seller. George eventually arrives in New York and marries Esther, but their relationship quickly deteriorates as he has an affair with Mayme. In the end, Esther is left alone yet undeterred, holding fast to her dreams.

Taking on the complex role of Esther was Elizabeth Swaine ’27, whose performance anchored the production with intensity and emotional depth. Swaine brought Esther’s inner world to life through subtle gestures, expressive silences and moments of raw vulnerability. 

Esther’s scenes with her confidants, Mrs. Dickson and Mayme, played by Gia George-Burgher ’26 and Asia Anderson ’28 respectively, brought warmth and emotional grounding to the production. Their interactions with Esther were viscerally real and felt as if we were watching friends have intimate conversations. 

George-Burgher infused Mrs. Dickson with humor and maternal pragmatism. Upon her first entrance to the stage, it was clear this was a character she had mastered. She embodied her character in every sense, with every word spoken and step taken. Every action seemed to be a calculated choice. Anderson was equally as intentional as George-Burgher, imbuing the character of Mayme with a mix of sultry charm and vulnerability. 

Together, their performances deepened the sense of community around Esther, making her moments of connection — and eventual betrayal — all the more poignant.

Wednesday’s audience responded enthusiastically to that night’s performance. Upon walking into the University Theater, they were met with a stage divided into five settings: Esther’s room, Mr. Mark’s fabric shop, Mrs. Van Buren’s room, Mayme’s parlor, and George’s staircase. 

Although completely separate, the stage still felt cohesive and immersed the audience into Esther’s world. 

As Esther moved through her life, so did the audience. They yearned alongside Esther, in her love for Mr. Marks, played by Lucas Oland ’26. Their chemistry was palpable, in the way only forbidden love can be. By the end of the play, when they finally touch, a wave of excitement and cheers rushed over the audience as hours of longing and restraint were released in a single, fleeting moment.

The excitement did not last long, as the audience continually observed her turbulent marriage. George, played by Richard George ’27, is charming yet complicated. Their first appearance painted them to be a doting and romantic lover with a striking accent. However, they morph into a manipulative and destructive spouse, garnering hatred from the audience, so much so that an audience member yelled out what all viewers were thinking and yelled “Stop!”

In a surprising turn of events, Mrs. Van Buren, played by the talented Chloe Bernardete ’28, kisses Esther. The emergence of this bewildering lesbian subplot resulted in gasps that rippled throughout the entire audience. 

To further immerse the audience in the world of “Intimate Apparel,” the production incorporated faint ragtime piano pieces — often looping softly beneath scenes — to evoke the atmosphere of early 20th-century New York City. At times, this music became somewhat redundant and did not always reflect the actions being done on stage. This distracted from the themes being shown on stage. 

One of the main challenges faced by the cast of “Intimate Apparel” was the accent work some of the characters incorporated. For actors like Bernardete, a trans-Atlantic accent lended itself very well to her character. However, for other actors, particular acting choices become muddied with inconsistencies or annunciation issues. Quieter lines of dialogue were lost due to what is assumed to be lower microphone volumes — an issue that has plagued the Dramat in recent years. Some emotional peaks were reached too early, resulting in a momentum with nowhere to go.

At times, the role of comedy was unclear and its execution appeared incomplete. Moments like quippy one liners or some of the situational circumstances, which garnered some laughs, were often rushed through. Lines were delivered while the audience was still reacting, which left  some audience members in a rush to catch up with the action on stage. It prompted viewers to wonder whether this moment was meant to be comedic at all.

“Intimate Apparel” was directed by professional director Chesray Dolpha. Her touch is apparent; the whole show had an elevated sense to it that only an outstanding professional could bring. 

From the intentional pacing to the nuanced physicality of each scene, Dolpha’s direction created a world that felt both intimate and immersive. It breathed and flowed, allowing the silences to speak as powerfully as the dialogue.

Wednesday’s performance was met with an immediate standing ovation and thunderous applause. Audiences cheered emphatically as the cast took their bows. 

“Intimate Apparel” was filled with so much heart, an idea that exuded beyond the stage. Angelica Peruzzi, the producer, came out to address the audience at the conclusion of the show. Thanking the audience for attending, she mentioned how important it was for stories like that of Esther’s to be told.

“Intimate Apparel” is chock full of stellar acting performances and calculated artistic direction. Putting aside minor stylistic choices and the roughness that comes with emerging talent, the production left audiences with a compelling story that had never been seen in the University Theater before.