By AJ Jaffari

What happens when a seaside guesthouse becomes the battleground for a family’s unforgotten dreams? The Hills of California at Berkeley Repertory Theatre opens with the Webb sisters returning to the place they once shared with their mother’s soaring ambitions and, in doing so, uncovering how the songs of youth can echo with both longing and regret. 

Set in an English coastal town late in the 20th century—and weaving in flashbacks to the 1950s—the play by Jez Butterworth mixes sharp wit, tension, and haunting family truths. As the sisters confront the legacy of their mother’s ambitions—and the ways they’ve let the past define them—the lines between performance, memory, and identity blur in a story that sings just as much as it stings. 

I have to say, as I’ve been getting out to see more plays this year, this one truly shook me. The Hills of California was as gripping as it was thrilling, pulling me in as the story evolved and left me wanting more. While the show confronts some heavy, emotional topics, I found myself deeply invested in this family and the separate journeys that shaped each of them. There were moments of real unease—some of which could be triggering for certain audiences—but that never diminished the impact of the storytelling. If anything, it heightened it. This was an incredibly powerful and beautifully told piece of theatre.

One of the standout performances came from Kate Fitzgerald (Young Joan), who charmed the audience as an energetic and spirited teenager with a tender connection to her sisters. As we come to learn, Joan’s childhood was far from ordinary, and Fitzgerald captured that complexity beautifully. She was dynamic, grounded, and her singing voice fit the role perfectly — bright, expressive, and full of youthful emotion.

Another standout was Allison Jean White, who impressively doubled as Veronica and the adult Joan. She managed to create clear distinctions between the two characters while carrying an emotional throughline that tied them together. As Veronica — a mother both loving and ruthlessly ambitious, willing to push her daughters to their limits — she exuded a raw intensity that lingered long after her scenes ended. As the older Joan, hardened by life and regret, White’s performance was equally captivating. I could feel every ounce of her pain, her resilience, and her longing, and I was in absolute awe of her range.

I also have to mention that while the entire cast was phenomenal, one final standout for me was Amanda Kristin Nichols (Gloria). She immediately set herself apart from the other sisters with an energy that, at first, feels almost confusing — but by Act 2, we understand exactly why she carries such emotional weight within the family. Nichols delivered a truly moving performance, shedding real tears and embodying the pain of a sister who’s always felt overlooked. Her portrayal was powerful, heartfelt, and lingered with me long after the curtain call.

There’s so much to unpack when it comes to the production elements of this show. It was absolutely and brilliantly directed by Loretta Greco, who, in my opinion, captured the female perspective with nuance, respect, and precision. Her direction gave the story both heart and structure, allowing each emotional beat to land perfectly.

The real star of the production team for me, though, was the remarkable scenic design by Andrew Boyce and Se Hyun Oh. I’m a sucker for a rotating set, and this one was spectacular—towering at what looked like three stories high. It must be a beast to climb those stairs! Truly, it’s one of the most impressive scenic designs I’ve seen for a play so far. The design was complemented beautifully by Russell H. Champa’s lighting, which bathed the English home in lush blues and pinks that enhanced its mood and atmosphere with elegance.

A show I definitely would see again in the future, but nothing will top this stellar production running currently at Berkeley Rep. And if I haven’t convinced you yet, message me privately—because I could rave about this show all day.

The Hills of California runs through December 7 and tickets are available here.