The play is about four women (and one in particular), the lives they lead, and the stand they take. These Radium Girls illustrate the greediness of big businesses and the loss of lives over time. Director Anaya tackles this brilliantly with appropriate pacing. Some uncomfortable gaps between lines and scenes can be attributed to opening night nerves which I am sure will be ironed out as the cast gets more time on the stage.

These young women, working with radium dust to paint the faces of watches over the course of many years (and millions of watches) contracted radium poisoning. Lauded as a substance of the future and as totally safe by doctors, radium was in everything from cosmetics to watches to medicine. This exposure resulted in ailments such as loss of teeth, consistent and open wounds, jaw deterioration, necrosis of limbs, ulcers, and more. The main theft from these women is time–from their loved ones.

In a heart-wrenching example the women are told that in order to make their brushes into a fine point, they should bring the brushes to their lips. As the decades go on more than just money is being passed to these women.

Projections make the black box theater a transportation and time machine between homes, a factory, the beach, a courtroom, and many other places. This is the perfect way to tackle the technical issue of multiple sets and invites the audience into the space as a collaborator in imagination. Hats off to set designer Peter Parkin and sound and technical designer Riley Lewis. Blacklight is also effortlessly employed, and I imagine we have Lapis Kesselring to thank for this innovation. The clips of radium commercials and uses during intermission are brilliant. I hope this will incentivize Adobe to consider more black box style as valid set design.

Kristine Padilla's warm and open portrayal of Catherine Wolfe Donohue creates space within the narrative for us to fall in love with the character and her life. Bailey Hunt plays several roles but specifically Catherine's husband Tom. Moments of tension between the couple that seem to be weighed with the expectations and sexism of the time are washed away by true respect and love. Catherine works with Pearl (a teller of terrible jokes), Francis (a gossiping church-going goodie goodie), and Charlotte (the party girl of the group). We watch these women become close friends over years. They go to the beach, they get ice cream together, they play poker together, and they get sick together. They become close friends, enjoying their money, and enjoying independence. This makes the second act of illness even more of a gut punch.

Pearl is played to witty perfection by Sarah Kesselring, Francis with poise by Clair Row, and Kelly Kates-Hughes is Charlotte who, with her boisterous voice, rouses the girls to adventure and mischief. These women bring out the best in one another and the actresses bring out the best in the narrative.

Michael Weppler is given many characters but specifically the thankless task of the company middleman who we hate for his duplicitous nature, and then their lawyer Mr. Grossman, who believes the women and fights for them. Makeup is brilliantly done by Melanie Ebaugh. There are several moments when we are able to see the glow of the radium on the faces and hands of the women.

We become aware of the institutional maze the women are kept in, designed to keep them confused as well as ignorant of their bodies. When women gossip/share information, lives are illuminated and saved. The joy of the job goes away as their health melts away with time. Playwright Marnich skillfully articulates the selfishness of the factory owners. The accusation of the wealthy to the worker is that they take and take and take. Perhaps working people take so they can give. These girls give–to one another and to their families. Katie gives to her family and friends as well as to her country. The world wants women to give, and the second they ask for something–to be believed–they are suddenly asking for too much.

These characters are based on real women who knew if someone has taken your body from you, you will still have your voice. You must use it. You must use it for those you love and who will come after you. We all deserve to have more time. This is the best show the Adobe has put on in years.

These Shining Lives runs through August 9, 2026, at The Adobe Theater, 9813 Fourth Street NW, Albuquerque NM. Performances are Fridays and Saturdays at 7:30 pm. and Sundays at 2:00 pm. General Admission tickets are $26.00, Discounted tickets are $22.00. Student tickets are $17.00. For tickets and information, please visit www.adobetheater.org or 505-898-9222.

Directed by Daniel Anaya, Stage Manager: Catie Peters, Set Designer: Pete Parkin, Lighting Designer: Lapis Kesselring, Costume Designer: Kim Love.

The Cast: Kristine Padilla, Bailey Hunt, Kelly Kates-Hughes, Clair Row, Sarah Kesselring, Michael Weppler.