By AJ Jaffari

Leave it to Steve Martin to take a wardrobe malfunction and turn it into a full-blown farce. The Underpants, adapted by Martin from Carl Sternheim’s 1910 German play, is a wild, witty comedy that doesn’t take itself too seriously—and that’s exactly the fun of it. I walked into this show expecting something offbeat, and it absolutely delivered.

The plot kicks off when Louise Maske’s underpants accidentally fall down in public during a parade, causing a scandal that turns her into the talk of the town. While her uptight husband frets about his reputation and job security, a parade of eccentric men suddenly become interested in renting a room in their home—each with not-so-hidden intentions. What follows is a hilarious mix of mistaken motives, social commentary, and classic farce chaos.

What makes it still feel funny and relevant today is how it pokes fun at the way society obsesses over scandal, reputation, and image—something that, let’s be real, hasn’t gone out of style. Whether it’s public spectacle, sexual repression, or the absurd lengths people go to protect their ego, The Underpants holds up because, at its core, it’s making fun of how ridiculous we can be—and that kind of comedy never gets old.

And now… onto the review!

---

Cast: ⭐️⭐️⭐️⭐️⭐️ 

The cast—no surprise here—was fantastic. While every performer brought their own flavor of hilarity to the stage, two standouts for me were Judith Miller as Gertrude and Nick Mandracchia as Versati. I’ve seen both of them in several productions across the Bay Area, but these roles felt like they were tailor-made for them. Judith’s Gertrude was endlessly funny, grounding the whirlwind of rapid-fire dialogue with a comforting presence and impeccable timing. Nick’s Versati was a delight—his “poetic” flair mixed with his sheepish charm had me cracking up every time he stepped onstage.

Of course, in a cast this small, it’s hard not to mention everyone. Will Springhorn Jr. nailed the brooding, old-school traditionalist type with such comedic ease. Lyndsy Kail gave Louise a perfect mix of sweetness and subtle strength—charming yet quietly rebellious in a way that felt refreshing. And Keith Pinto? A masterclass in physical comedy. I have no idea how he keeps that energy up, but it’s electric to watch.

I could go on about how great this cast was, but honestly? You’re better off seeing it for yourself.

---

Theater: ⭐️⭐️⭐️⭐️⭐️ 

There’s something undeniably special about The Stage in San Jose. It’s one of those rare theaters that feels both intimate and inviting—perfect for first-timers and die-hard theater lovers alike (like yours truly). The lobby has this cozy, welcoming vibe, with a solid little selection of drinks and snacks to enjoy before curtain.

Inside the house, you really can’t go wrong when it comes to seating—every spot offers a great view. Still, if you can snag a seat in the center section, that’s the sweet spot for catching every detail.

What keeps me coming back, aside from the productions themselves, is the variety in The Stage’s season. Their lineup is always diverse and thoughtfully curated, with something for everyone. And yes—they close out the season with a musical, which is a great touch for anyone who leans a little more Broadway than black box. Next up is Sweet Charity which I’m dying to see!

If I had to flag anything, it’s the downtown parking situation—definitely plan ahead for that. But honestly, that’s a small price to pay for such a top-tier local theater. And it’s free street parking on weekends so that’s a win. I always leave already looking forward to my next visit.

---

Production: ⭐️⭐️⭐️⭐️⭐️

Timing is everything when it comes to farce—and this production absolutely nailed it. Doors slammed at just the right moments, entrances and exits were tight and snappy, and there was never a lull or bit of dead space. That’s a credit not only to the cast’s rhythm and precision but also to the clear vision and smart direction from Kimberly Mohne Hill.

Another standout element was the costume design by Lauren Suiter. Each look felt perfectly suited to the time period while still feeling lived-in and natural on each actor. It was a subtle touch, but one that really elevated the overall aesthetic.

Lighting, designed by Maurice Vercouture, was minimal in the best way—never distracting, but deeply effective. I especially loved the soft shadows of windows reflected along the walls on either side of the stage. It created such a warm, lived-in atmosphere that subtly enhanced the storytelling.

And can I just say—90 minutes, no intermission? We love to see it. I’m often the first to suggest a show could lose 20–30 minutes, but this one was paced so well that it flew by. I left feeling fully satisfied and entertained.

All in all, a fantastic production from top to bottom. So really… what are you waiting for? Grab your tickets and go see it!

---

The Underpants runs through April 27

Tickets are available here