Written by Mary Campbell, Westfield High School
At fifteen, aspiring artist Grace Fryer dropped out of school to ease her family’s financial burden; little did she know that decision would lead to a cursory and feeble life. Mount Vernon High School’s “Radium Girls” wove an intricate depiction of 1920 women’s complex lives as they fought for justice and appealed morality.
Written in 2000 by D.W. Gregory, “Radium Girls” is based on true historical events. The 1910s are characterized by a nationalistic fervor to support the war effort. By the 1920s, many young girls had obtained jobs as dial painters in watch factories, doing their part in aiding the war. When girls began rapidly falling ill with debilitating symptoms, a select few turned suspicious eyes towards the radium paint they handled, and the employers who distributed it.
The dial painters (Abbi Convery, Arsenio Hill, et al.) maintained constant motion on stage, despite limitations presented by the static nature of their workstations. Together they portrayed the youthfulness of their characters, huddling close together and sharing idle gossip. Conversation flowed naturally among them, creating an air of relatability that humanized a group of individuals who are often viewed only as victims.
Close friends, Grace Fryer (Natalie Stankiewicz) and Kathryn Shaub (El Wendy), began experiencing symptoms of radiation sickness simultaneously. Despite their similar circumstances, their reactions differed. Wendy depicted Kathryn’s initial determination and distress through full body motion, wringing her hands and pacing fervently across the stage. Stankiewicz, adversely, portrayed Grace’s air of calmness and surety by maintaining poise. As the two companions’ physical state degraded, however, their roles shifted. Stankiewicz gained resolve and a desire for justice, her voice commandeering the space even when Fryer’s movements had been reduced to hobbled shuffling and feeble gestures. Shaub’s determination, however, began to fade along with her health. Wendy’s posture slumped, her once-incessant movement ceased, and her voice strained.
Arthur Roeder (Matthew Boehm) wrestled with the moral turmoil of leading the company largely responsible for so many young girls’ deaths. Through vocal variety, both in tone and volume, Boehm conveyed inner conflict between his guilt and earnest nature, and his practical business sense.
The largest challenge for the props team (Tyler Canestrano, Eva Greek, et al.) was creating paint that could both glow in the dark and be safely consumed. The team utilized white chocolate and edible paint to achieve the desired effect, which resulted in a clearly visible glow on stage. Another obstacle was the historical accuracy of the props. The show featured a period-accurate wheelchair, along with radithor bottles and newspapers displaying headlines fitting the show. The hair and make-up team (Ace Naylor, Diana Lainez Gochez, et al.) had a similar task in finding appropriate 1920 hairstyles and makeup trends. The makeup each individual character had reflected their status. Richer characters had more extravagant designs while lower class characters had only simple adornment. For Kathryn and Grace, bruises and dark circles grew and became more stark throughout the show, giving them a realistic sallow and sickly appearance.
“Radium Girls” is a grim and mournful tale surrounding a dark period of history, encouraging examination of ethical action and the pursuit of justice. The cast and crew of Mount Vernon High School handled the serious material delicately, inviting the audience to enjoy the show while also recognizing the story’s solemnity.
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