"Hysterical!"
Detroit Repertory Theatre
Detroit
Through May 4, 2025
While we often use the word to reference something uncontrollably funny, the etymology of “hysterical” is rooted in the Greek word “hystera” meaning “womb.” It was originally used to describe the uncontrollable emotions attributed to women, like those accused of hysteria. In Elenna Stauffer’s “Hysterical!” the word’s double meaning is explored through a dark comedy about a group of modern-day “hysterical” cheerleaders. The show, directed by Leah Smith, is playing at Detroit Repertory Theatre until May 4.
The show opens with an introductory cheer, where we meet the five-person cast: Mia (X’ydee Alexander), Madison (Kelly Eubank), Shannon (Ana Gomez) and Charlotte (Tayler Jones). While they clap and shout, Mia develops a strange, uncontrollable, cheer-themed tic, resulting in a hospital stay with no concrete diagnosis. Similar tics begin to spread to other members of the team, who find themselves removed from school and ostracized from those who fear catching their plight, despite no solid evidence of contagion. Told through intermittent Greek chorus-like cheers, the months are long and lonely for the girls, and the remaining cheerleaders do their best to cope as their team is gutted and their relationships are strained.
For centuries, women have struggled to be heard, their pain not taken seriously, their voices silenced. In her director’s note, Smith said she was drawn to the play because she found women who behaved outside of societal norms to be exciting and wanted to celebrate their independence and bravery, while also challenging us to listen to what they’re saying and believe them. While I personally agree with Smith’s sentiments and admire a play with a goal to draw awareness to women’s experiences, “Hysterical!” didn’t do that for me.
A cheer-themed tic that affects a handful of cheerleaders on the same team is clearly a mental affliction, especially when physical testing offered no alternatives. There is no apparent physical cure or treatment, though some eventually find relief with time. It is no coincidence, however, that the one who does not recover is also the only one who dismisses her doctor’s recommendation for psychotherapy, saying she doesn’t need a “head doctor.” While I absolutely believe the girls experiencing these tics are feeling real physical suffering, that doesn’t mean their afflictions exist beyond the inside of their heads – those things are not mutually exclusive.
In a dramatic monologue toward the end of the show, Jones’ Charlotte – the one disinclined to listen to a psychotherapist – laments her ailment is not taken seriously in a very clear parallel to the experiences of women everywhere. At the same time, people isolated themselves from her for fear of contagion – that sounds like they’re taking it seriously to me. Her physical doctors seemingly very accurately prescribed therapy as a solution, which she – like the women she is supposedly supposed to represent – didn’t take seriously. My sympathy for the character was limited, and I struggled to understand what the character or show wanted us to feel for her.
Jones’ portrayal didn’t fully help clarify this. While her performance was passionate, it could benefit from more variation in delivery. She shouted most of her lines (which I can’t imagine is sustainable for her voice throughout the show’s run), and her intensity remained at least an 8/10 throughout the play’s 1.5-hour duration. When the same level of energy, tone, and intensity is applied to both the comedic and dramatic moments without variation, it becomes difficult to fully engage with the more serious scenes.
From a comedy aspect, the humor of the show draws largely from the tics, which come out at inopportune times and create quite the spectacle when joined together, like a Tourette’s-themed orchestra. The effect was amusing (admittedly, I tend to find this type of comedy annoying), but other members of the audience found it – appropriately – hysterical. The dialogue also had its moments, but lines often felt rushed – in both the comedic and dramatic parts – which dulled their impact. The cast would benefit from slowing down and allowing time for strategic pauses.
Taking women seriously is an important topic, and I found the premise of “Hysterical!” clever. While I did find the show amusing, I didn't find it as hysterical or emotionally impactful as I had hoped.
