Cowl Girl at the Players Theatre review by Callie Stribling

From the moment the audience steps into the theater for Cowl Girl, before the lights even begin to dim on the first scene, they are swept up into a pop culture enthusiast’s dream. Stickers, wall decoration, collectibles and more decorate the stage (at least the side representing Cowl Girl’s apartment) with references to Spider-Man, Wonder Woman, Pee-Wee Herman, Star Trek (original series, naturally), X-Files, Digimon, of course Batman, and so many others. Throughout the show, we’re treated to references to Prince, Thundercats, He-Man, Comic Con, cosplay, Pez dispensers, Heeley’s, and just about everything that could make a person nostalgic for the 80s (with some late 90’s/early 2000’s in there for good measure – Alfred Molina’s Doc Ock and MySpace, for example). Anyone with a love of retro cartoons, sci-fi, and superheroes will know Cowl Girl’s world at once.

Cowl Girl (Yessenia Rivas) gets her name from her ever-present Batman cowl, a mask she wears at all times as a blanket of security. Her world is the world of cartoons and comics, but her physical world is confined to her apartment and the building’s lobby. Her friends consisting of her neighbor, Tabby (Lilith Ma), her doorman, Jason (Mike Pollock), and her cat, Francis. A neighbor, “creepy Petey”, shares her passion for toys and collectables. Severely agoraphobic, Cowl Girl won’t venture further than the building’s lobby, but she’s built a routine and a circle of people that are safe and routine, until Pete sends his nephew, Alex (Azendé Kendale Johnson), to her for help in appraising some toys.

It would be hard to make a case arguing stories exploring isolation, vulnerability, and connection are anything new, or that there’s something refreshingly original about stories telling us about the importance of opening ourselves up and taking a chance to experience real, meaningful relationships and experiences in life, despite the pain we know can come with them when they lead to loss or disappointment. But Cowl Girl brings to it a lot of heart and humor, creating a variation on the theme that can only be described as a real labor of love. Anna Capunay has written a show that has nothing but warmth for the characters inhabiting it, filled with moments of laughter, moments that are genuinely moving, and moments radiating second-hand embarrassment in the best and most effective way. Its very reference heavy humor may not land for everyone, but for those of a more geeky inclination it hits well. And it’s something special when you can feel this much care having gone into a production.

Rivas brings a lot of fun to the title role, comic action poses and all, but a real earnestness too in a wonderfully layered performance. Johnson is great as the straight-faced new-comer to the world of costumes and cartoons, perfectly balancing Rivas and Ma in their enthusiasm for all things fandom, but bringing a nice warmth. On the production side of things, the world feels incredibly fleshed out as well. Director and production designer Sean Pollock’s staging and set (with assistant scenic designer Danis Zhang) create a very clear picture the characters and the world they live in, and the fight work by Meron Langsner and lighting design by Bruce A! Kraemer perfectly capture a comic book feel. Not to mention, the collection of toys and figures assembled by the team, from a variety of fandoms, is impressive.

The show has its drawbacks, as any do; some beats don’t quite land and the humor and references can be niche. Sometimes it may revel in its references for just a hair too long. But it leaves the audience laughing, and it earns its heartfelt moments by treating its subjects with kindness and sincerity. Cowl Girl reminds us that sometimes you need to be brave without the mask, and to celebrate the things you love.