Women Behind Bars, produced by Michael A. Shepperd and John Michael Beck in association with David Elzer, opens Nov. 20; plays Thurs.-Sat., 8 pm; Sun., 3 pm; through Dec. 20. Tickets: $25. Celebration Theatre, 7051B Santa Monica Blvd., Hollywood. 323.957.1884 or celebrationtheatre.com

When Tom Eyen’s now cult classic Women Behind Bars played the Roxy on the Sunset Strip in the ’80s, young Worthie Meacham saw Lu Leonard portray the prison Matron 13 times in the Ron Link-directed production. Now, over 20 years later, Meacham is playing the role. “Getting this part as the Matron was really a dream come true,” he says.

The story follows Mary Eleanor, who has been falsely accused of robbery and thrown into the Women’s House of Detention in Greenwich Village in 1952. She encounters the horrible life of the prison world, which is complicated by lesbian love affairs.

“I play the evil matron who’s not-so-secretly in love with her,” laughs Meacham. “She’s not in love with me so I torture her during her incarceration.”

Although, “it was written with a gay sensibility, it is in no way a ‘gay’ show,” he asserts. “It is a mainstream show with smart, campy humor.” This show is a parody of all those over-the-top B movies of the 1950s about women in prison, where lesbianism was strongly implied but never said.

“Part of our training during rehearsals was watching all these horrible B movies, so we could really understand the genre better.” In fact, “some of the dialogue in this show was taken from scenes from these movies,” he reveals.

The times have definitely changed. “People in the ’50s are very different than we are today. The sensibility is completely different.” And gay culture has permeated the mainstream not only from the ’50s but also since 1975, when this play was first produced in New York. “This play shows what is great about gay humor,” says Meacham. “It’s now 30 years later. Because of film and television most people are very aware of gay humor. This show is really for everybody.”

Fans in West Hollywood and around the world know Meacham as the drag queen persona Momma. “It’s really because of Momma that led me to this part,” he admits. Momma came to be in 1994. “I did drag once to get over my fear of drag queens,” laughs Meacham. “And the night I did it, I won a contest. When they asked me my name, I said ‘I’m old enough to be your mother’ and that’s how Momma was born. Overnight, Momma became this success. I never fueled that fire.

“I’ve been in and out of television, film and theatre my whole life; Momma gave me this whole new persona to continue acting. I’ve really enjoyed the journey she has taken me on. There is something deep in me that is Momma.” He adds, “Momma is not a drag queen, she is a persona.

“I’m able to put her on and do all these crazy things with her that in my own skin I would never want to do. The great thing about playing the Matron is really that it’s opposite of the Momma persona. I’m challenging myself as an actor to come up with a version of this female character. The reason Momma is getting the credit is because it’s really through Momma. She’s playing the evil matron.”

To reiterate: Meacham is playing Momma who is playing the Matron. Clear? Good.

Momma has really given Meacham a compelling double life. “I get to travel all over the world, do stand up, MC and meet all kinds of people because of Momma. I’ve also become a motivational speaker as Momma. When I put all the stuff on, people want to listen. It’s very interesting.”

Meacham has been interacting a lot with 18-20 year olds. This young generation has really taken to Momma. “And I love this generation,” enthuses Meacham. “This whole new influence of youth, energy and positivity that this young generation has, I’m addicted to it. I want to be around them, I want to make them feel happy, I want to make them feel loved, I want to empower them – to make sure this next generation of kids will make sure this planet goes forward.”

In 2008 Meacham received the Milk Humanitarian Award. “It is probably the most unbelievable thing I’ve ever received,” he confesses. “I want my life to make a difference. I just want to make this world a happier place for everybody. I know when I was young I was unhappy; I was so scared and miserable. Harvey Milk risked everything; he risked his life to make sure the rights we have today for gay and lesbian people would happen. And to be honored in the same vein as someone like Harvey Milk is pretty amazing,” marvels Meacham.

For Women Behind Bars, Meacham feels blessed to work with such a stellar cast. “This is very much an ensemble.” He adds, “We’ve become a family. Everyone is here because they want to be here. Walking into the theatre and seeing them is a blessing.”

Meacham admits, “This show is just about having fun. There’s no deep meaning.” The camp value of this show,” he laughs, “everyone walks away with their mouth hurting so much from smiling and laughing. It’s such a high-energy show, there’s a lot of laughs and an excellent cast. Win, win, win!” he professes.

Kurt Koehler

The director Kurt Koehler and Meacham met about 12-13 years ago, so Meacham is very familiar with Koehler’s work. “Kurt knows how to produce camp,” he says. Michael A. Shepperd, the Artistic Director of Celebration Theatre, has also been a strong influence. “He’s a person I totally respect. I want to listen to what he has to say; I take his notes seriously,” tells Meacham, adding, “And Kurt knows where to camp it up. I respect both of them so much – they are people who know what they’re talking about. They’ve been around awhile and are successful at what they do – and they make us all better at what we’re doing.”

When the show starts, “It’s going to be very hard to keep a straight face once we have the audience there laughing,” chuckles Meacham.

Jessica Goldapple

“Women Behind Bars is every clichéd women’s prison movie from the 1950s. Tom Eyen made sure every female character from the ’50s is put in prison,” laughs Koehler who seems to be the perfect choice to direct this play. “I love those old movies and I love camp,” he says. “We really tried to make it look like an old movie when you come into the theatre. The color scheme is like an old black and white movie.”

The Celebration space has its challenges. The stage is thrust into the audience and there’s a pole in the way. Koehler has incorporated the challenges into his staging. “I wanted to make everyone feel like they were in the prison with the girls, have that extra participation. It puts voyeurism on another level. You become a part of it,” tells Koehler. He admits, “It’s been a challenge but I like a challenge. Keeps me on my feet during rehearsal to wander to every seat.”

Meacham isn’t the only one in drag. “There are some men playing women,” says Koehler. That’s the fun part.” He assures “the girls hold their own. When a man plays a woman on stage there’s already a levelness that is funny.” He explains, “For a woman to come into that and play off it is an uphill challenge.” Usually when there’s a show with drag, the other actors often become unnoticeable. “But I really make the cast an ensemble. Everyone needs to shine,” he stresses.

“I think it’s important that the ensemble is an ensemble.” He says, “I cast you because I like you for the role and I want to see what you can bring. So we try everything. I give everyone breathing room.”

This is Koehler’s first time directing a main stage play at Celebration Theatre. “It’s exciting and scary and a lot of fun,” declares Koehler. He got Shepperd’s attention last year when he finally got him to see Chico’s Angels, a Latin spoof of Charlie’s Angels. Koehler is a writer and director for the Chico’s Angels webisode series. (Website: http://www.chicosangels.com/index.php) This successful spoof has allowed him to take charge of his artistic endeavors. “I just wanted to direct and someone told me to just go direct something,” recounts Koehler. “It’s not that easy.”

His friend Oscar had an idea for a show. “He needed a director but what I didn’t realize is he also needed a writer,” he laughs. “I look back and it was a lot of risk but it didn’t feel like it. It just felt like I had nothing to lose.” Now he feels the pressure. But it’s a pressure he fully embraces. “If you’re not scared then there’s nothing to work towards,” he adds, “There’s no risk involved.”

Koehler has spoken with a lot of today’s youth and encourages them to take risks. “It’s the risk that stops them; the not knowing makes them decide to not pick up a pencil and start writing. If there’s no risk then you’ll never get anything done.” Taking risks seems to be Koehler’s mantra.

When Women Behind Bars played at the Roxy in the ’80s, it developed a loyal following. Yet it hasn’t been produced since then. “I was only 14,” admits Koehler, “so I didn’t really know about it. It’s exciting because I haven’t seen a production of it. So it’s all my imagination.” He has, however, seen a lot of the B films the play parodies. “What I find really funny about all these movies I’ve dug up is they all have the same theme, the same characters – they all mesh. It’s fun to put a movie on stage. Make it a film experience, live. That’s what’s sparking my imagination for it,” he reveals.

Koehler simply wants the audience to have a good time. “I want them to laugh and smile through the whole thing. And I want them to want to see it again. Theatre has two purposes: either to teach you something or to seriously entertain. And I hope this is going to seriously entertain,” adding with a chuckle, “and teach you about old films from the ’50s.”

Joking about seeing the show myriad times now, he laughs, “If it’s not funny after 30 times, those are the spots to put the funny.”

When Koehler told Meacham he was going to direct Women, Meacham gasped, “Ha! I want to play the Matron.”

“I just knew he wanted it,” says Koehler, “and I wanted him to do the part. Worthie – well, Momma – is hysterical. He’s working hard on this show.”

At opening night, “I’ll be a nervous wreck,” he lightly professes. He’ll most likely be thinking, “Oh my god, the risk, the risk!” Laughing, he admits, “That’s why we do it though.” We theatre folk like this pressure; we seem to work best under it.

Feature image of Jessica Goldapple as Mary Eleanor and Momma as The Matron by Michael Calas

Article by Ashley Steed