Regency Girls at The Old Globe: A Wildly Funny, Surprisingly Sharp New Musical

Star Ratings for Old Globe Regency Girls

Acting: ★★★★★

Staging: ★★★★★

Scenic Design: ★★★★★

Lighting: ★★★★★

Hair and Makeup: ★★★★★

Wow. Just… wow.

Walking into Regency Girls, I didn’t know what to expect. It’s a brand-new musical—not based on any pre-existing IP, not drawn from a movie, a pop catalog, or a book. And in today’s theater landscape, that’s not just refreshing—it’s rare. What unfolded on stage was a totally original, high-speed, riotous adventure full of laugh-out-loud comedy, brilliant design, standout performances, and a surprisingly profound message.

Set in the early 1800s, the show cleverly draws bold, unavoidable comparisons to 2025. Women’s rights, bodily autonomy, and the frustratingly persistent notion that progress is linear are all put under the microscope—but with wit, warmth, and wild humor. This isn’t just period drama with jokes. It’s a vibrant reminder that the more things change, the more they stay the same.

A World Premiere Worthy of the Spotlight

The brains behind Regency Girls are just as impressive as what unfolds on stage. The book is by Jennifer Crittenden and Gabrielle Allan (of Seinfeld, Scrubs, and Veep fame), with music by three-time Emmy nominee Curtis Moore (The Marvelous Mrs. Maisel), and lyrics by two-time Tony and Grammy nominee Amanda Green (Bring It On: The Musical, Mr. Saturday Night). Directed and choreographed by Broadway veteran Josh Rhodes, this world premiere feels remarkably polished and bursting with creative purpose.

And San Diego should be proud—Regency Girls is another example of why this city is a powerhouse for new theatrical work. The Old Globe (alongside La Jolla Playhouse) continues to be one of America’s great incubators of Broadway-bound productions, and this show makes a strong case for itself in that lineage.

The production moves at breakneck speed, with lightning-fast scene changes, practical set design, and dynamic lighting that jumps from candlelit intimacy to full-blown concert theatrics. There are no blackouts, no lulls—just breathless momentum. And it’s all anchored by a cast that is not only vocally strong, but comedically fearless.

The Cast Brings It All Together

Krystina Alabado (Dabney) delivers a powerhouse performance as the sharp-tongued maid with a mission. Her distinct accent (inspired by class distinctions à la Downton Abbey) and commanding presence make her a standout, especially in her later scenes where the show’s central theme of choice lands with emotional weight. Her voice is as strong as her character’s convictions.

Isabelle McCalla (Elinor) anchors the show’s journey with charm and intelligence. One of the most memorable moments is a number called “Man Things,” where Elinor and Petunia (the always-brilliant Ryan Redmond) don men’s clothing and suddenly find themselves heard, respected, and praised—simply because they’re perceived as male. The comedic brawl that breaks out during the number only adds to the absurdity, but the message is loud and clear. Even centuries later, a woman’s intelligence is often ignored unless it’s spoken through a man’s voice.

And speaking of comedic brilliance, Gabe Gibbs absolutely steals the show as both the arrogant Dingley and the chaotic whirlwind that is Galloping Dick. His costume reveal in the final act had the audience howling. It’s physical comedy done flawlessly—and it lands every time.

Janine LaManna pulls double duty as Lady Catherine and Madame Restell, a switch that showcases both her biting comedic instincts and vocal power. Her Act 2 solo “How Long (In 1810)” is a showstopper—not just for its satirical edge, but for how sharply it reminds us that we’re still fighting many of the same battles 200+ years later. The laughter catches in your throat—right where the truth hits.

Ryann Redmond and Kate Rockwell (Petunia and Jane) shine not just in their solo moments, but in their palpable connection to the show itself. Having developed these roles for over seven years, their performances are rich, refined, and clearly personal. Redmond especially stands out with her genre-hopping vocal range—whether she’s singing in traditional Broadway style or rapping through a hilarious moment like “Jane Finds Her Tingle,” she’s electric.

Another musical highlight? “Brains and Booty,” a riotous number involving repurposed BDSM gear, a fancy ball, and the entire cast. It’s outrageous, memorable, and may just end up being the scene audiences quote and replay in their heads the most—even if it’s not the most traditional “takeaway” song.

Sav Souza (Scutter) brings heart and hilarity to every scene, subtly portraying a trans character with charm, comedic timing, and deep purpose. Their performance is a perfect reminder that trans people have always been part of the story, and they belong fully on this stage too—not as spectacle, but as integral threads in the story’s fabric.

Nik Walker (Stanton) brings a grounded charisma and vocal strength to his scenes opposite McCalla and Alabado, rounding out a cast that truly has no weak link. And the ensemble? Tight, dynamic, and able to slip between roles with speed and clarity. In a show this fast-paced, that’s no small feat.

The audience was with the cast every step of the way—laughing, cheering, gasping, and applauding mid-scene. Lines that jabbed at America’s current climate, or slyly referenced the lack of progress in gender equality, landed like lightning bolts. And while the show is undoubtedly funny—it also knows when to let the comedy breathe and let the truth speak.

Final Thoughts Regency Girls Old Globe

If there’s one small note, Act I could be trimmed slightly—a song or two might be tightened to better match the perfection of Act II. But that’s a small note on an otherwise knockout performance.

Regency Girls isn’t just ready for Broadway. It’s hungry for it.

And if you’re lucky enough to be in San Diego right now? Don’t wait. Don’t read spoilers. Don’t let someone else tell you what this show is—go experience it. This is your chance to be one of the first to see something this bold, this hilarious, and this powerful before it takes the world by storm.

San Diego continues to produce incredible new work. You can explore more of our theater reviews here.

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