Melanie Gillespie and Tifany Simosky in The Charitable Sisterhood of the Second Trinity Victory Church
It felt almost like kismet that The Charitable Sisterhood of the Second Trinity Victory Church unfolded during a wild storm that washed out a bridge and stranded its ladies at the church, because the chaos outside mirrored what was happening on stage. Before the show began, weather sirens sounded several times. But Jonathan Grafft, president of Richmond Hill Players, kept everything well under control, calmly explaining the severe-weather plan and reassuring the audience. Fortunately, the Barn Theatre performance went on as scheduled with no further interruptions. The evening's conditions, however, truly enhanced sound designer Dana Skiles' contributions. With a real storm raging outside, manufactured rain and thunder were hardly necessary, but it was fun trying to distinguish between what was real and what was pre-recorded.
Playwright Bo Wilson's premise is simple but effective: A group of devoted women who make up the titular Charitable Sisterhood of the Second Trinity Victory Church (and are adorned with matching angel pins) gather to sort through donations collected for the homeless population in Guatemala. The generosity of their church community is immediately apparent, as the stage is piled high with an overwhelming assortment of items, some useful, some … questionable. This cluttered setting, however, becomes more than just a backdrop; it fuels much of the humor and chaos that follows.
First to tackle the donation mountains are Tina Yates (Melanie Gillespie) and Lorraine Jensen (Tifany Simosky). Tina, a nurse fairly new to the small Virginia town, is eager to find her place and uses the donation drive as a way to connect. Lorraine, a mother of nine, is equally eager, though more so for a bit of quiet respite away from home. Gillespie and Simosky share an easy, natural chemistry that makes their budding friendship feel genuine and engaging. Their conversations ground the show, giving the audience a relatable entry point into the increasingly zany circumstances.
Enter Bea Littleton (Jalayne Riewerts), the type of leader many will recognize instantly. Whether or not you’ve spent time in a church or corporate setting, the takes-credit-for-everything boss is a universal figure, and Riewerts leans into that familiarity with excellent comedic timing. Bea commands respect, but not without earning a fair share of subtle eye rolls from the other women, moments that land well with the audience and add to the ensemble’s dynamic.
Dana Skiles pulls double duty as both sound designer and actor, appearing on stage as Janet Murchison. Janet arrives late with a cloud of small-town rumors swirling around her, and Skiles plays this ambiguity well, keeping the audience guessing about what’s true and what’s exaggerated gossip. It’s a performance that adds an extra layer of intrigue to the otherwise lighthearted tone.
As Wilson's comedy progresses, what stands out most is just how relatable it all feels. Yes, the setting is 1977, and the costumes and references reflect the era. But the hearts of the story, community, assumptions, and the complexity of human relationships feel timeless. The Charitable Sisterhood's humor often comes from recognizable situations: miscommunication, personality clashes, and the well-meaning chaos that happens whenever a group of strong personalities tries to work together.
One particularly memorable comedic moment involves Tina and Lorraine noticing a suspiciously moving pile of donations. The scene plays perfectly on that universal fear of “something is definitely alive where it shouldn’t be,” and it earns one of the biggest laughs of the night, especially from anyone who shares a dislike of unexpected critters. (It’s me – I would've reacted exactly like Lorraine!)
Meanwhile, without giving too much away, when Riley Reynolds (Elissa Dynes) arrives on stage, the play's tone shifts in a poignant, meaningful way. What begins as a light, comedic look at church life gradually deepens, inviting the audience to reconsider their assumptions about the characters and their circumstances. It’s a turn that adds emotional weight to the story without losing its sense of humor.
I was truly surprised by Wilson’s script; The Charitable Sisterhood of the Second Trinity Victory Church had more depth and twists than I was anticipating. For instance, when we first see Skiles after intermission, and her Southern accent was gone, I was certain it was an acting mistake. But no, this turned out to be a key plot point that I won’t spoil.
Director Mike Skiles keeps the production moving at a steady, engaging pace, making excellent use of the barn's in-the-round staging. Not every production thrives in that format, but this one feels particularly well-suited to it, drawing the audience into the action from all sides. The set design, largely composed of towering piles of donated items, may seem simple at first glance. Yet it’s cleverly utilized throughout the show, providing both visual interest and ample opportunities for physical comedy.
Overall, this production balances humor and heart with a strong ensemble and thoughtful direction, creating an experience that feels both entertaining and surprisingly resonant. The Charitable Sisterhood of the Second Trinity Victory Church was an evening well worth its time. Here’s hoping, however, your experience includes fewer weather sirens. They’re loud.
The Charitable Sisterhood of the Second Trinity Victory Church runs at the Richmond Hill Barn Theatre (600 Robinson Drive, Geneseo IL) through April 26, and more information and tickets are available by calling (309)944-2244 and visiting RHPlayers.com.
