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Home > Arts > FRINGE FILE #3: INTERVIEW – Director Casey Marie Holmes and <em>A Woman’s Place is in the House</em>

FRINGE FILE #3: INTERVIEW – Director Casey Marie Holmes and A Woman’s Place is in the House

by Basil Considine -

A promotional image for A Woman’s Place is in the House, one of 104 shows in the 2026 Minnesota Fringe Festival.

Some of the many overlapping factors bringing artists to the Minnesota Fringe Festival stages include the opportunity to practice one’s craft and present things that an established playhouse might be loathe to take a chance on. These so-called “Fringe firsts” are a talking point at artist and audience meet-ups, both in Minneapolis and across the country. For David Alan Berger, the author behind A Woman’s Place is in the House, this year’s fringe first is his professional debut as a produced playwright.

Not that Dave is a stranger to the stage or the camera. A retired sociology professor who spent most of a 35-year career at Inver Hills Community College, Dave moonlighted producing a variety of academic television shows. Life Raft Debate, Marijuana Forum, Students as Customers, and Homeless Symposium are just a few of few of these shows’ provocative titles. Not to let himself be outdone, Dave has also taken the stage as a thespian for numerous local theatres, including Shakespeare & Company, Lakeshore Players Theatre, IHCC Theatre, and Locally Grown Theatre.

What goes into a Fringe debut? Which way should the provocative title A Woman’s Place is in the House – a show actually about the first women elected to the Minnesota Legislature – be read? Director Casey Marie Holmes spoke with the Arts Reader’s Basil Considine about this and more.

Official Description

An interactive activist comedy following Minnesota’s first four female legislators as they journey to today, joining the ongoing fight for equal rights – with various special guest speakers at each performance.

EnCompass Theatre founder and stage director Casey Marie Holmes.

Why this show, and why now?

The last several years have brought issues of social justice and equality to the forefront of our communities. From immigration raids and the rise of white supremacy to ongoing attacks on LGBTQ+ rights and other civil liberties, many people are asking how we move forward.

While it’s easy to look at history and see the struggles, we can also look back for inspiration. These four remarkable Minnesota women fought for change, challenged injustice, and helped shape a better future. By bringing them into the present day, this play asks what they would think of the progress we’ve made, the challenges that remain, and how their courage can inspire us to keep fighting for equal rights for all.

What is a favorite moment in this show and why?

My favorite part of this show has been getting to know these four remarkable women. Their stories have largely been forgotten, but their courage, determination, and humor have inspired our entire cast. It’s been incredibly rewarding to help bring their voices back to life for today’s audiences.

I also love that every performance features different guest speakers, from Minnesota legislators to organizations like the League of Women Voters, ERA Minnesota, Women’s March Minnesota, and even the Minnesota Dancing Frog Brigade. It transforms the production from a play about activism into a bridge between history and the people who are actively creating change in our communities today.

A Woman’s Place is in the House is being presented at the Rarig Kilburn Theatre, which is a theatre-in-the-round space. What are some of the challenges and opportunities that come with this, and what are some of the ways that it’s shaped your presentation?

The biggest challenge of performing in the round is making sure every audience member feels included, no matter where they’re seated. But this format has also become one of the show’s greatest strengths. The climax of the play is a full-scale activist rally, and because the audience surrounds the action, they become part of the event itself. Rather than simply watching from the sidelines, they’re invited to participate, creating an immersive experience that makes the rally feel immediate, powerful, and shared.

What were some of the key events that brought you to the director’s chair (generally speaking, not necessarily for this show)?

Like many theatre artists, I started as an actor. But I quickly realized I was more interested in the bigger picture—how a story is crafted, how a production comes together, and how theatre can move an audience. I found myself spending more time researching, analyzing scripts, and thinking about the overall vision than focusing on my own role and memorization.

A production still from EnCompass Theatre’s production of Cecilia Copeland‘s R Culture at the 2019 Minnesota Fringe Festival, another production directed by Casey Marie Holmes. Photo by Kaylin A. Wolf Photography.

That passion led me to directing, where I discovered the power of theatre as a tool for social change. Since then, I’ve directed and produced several works that explore important social issues, including Safety Off (gun violence), R Culture (rape culture), and Funny Like an Abortion (reproductive rights).

For me, directing is about creating meaningful conversations and using theatre to inspire empathy, dialogue, and action.

The Arts Reader on R Culture

….an important and timely piece commenting on several issues in contemporary American society. Written by Cecilia Copeland, this play unfolds in a series of vignettes that examine how different aspects of stereotyping, objectification, and dehumanization manifest. The audience is guided through the experience as a Ringmaster, with the Fourth Wall frequently breached to for battling commentaries as the “actor” characters rebel. Sometimes satirical and other times deadly serious, R Culture is incisive throughout.

How did you become connected with playwright David Alan Berger and directing this show?

Actor and TV producer David Alan Berger makes his playwrighting debut with A Woman’s Place is in the House.

I first met playwright David Alan Berger when he was an actor in a show I was producing. We stayed in touch afterward, and when he told me he was writing a new play, I asked if I could read it.

As soon as I finished the script, I knew two things were true: it would be a perfect fit for the Minnesota Fringe Festival, and I needed to direct it. I immediately connected with the play’s message and its unique blend of humor, history, activism, and heart.

I’m incredibly grateful that David trusted me with his story and gave me the opportunity to bring these remarkable women—and their legacy—to life on stage.

What’s up for you creatively after Fringe?

After Fringe, I’ll be stepping into a new role leading the theatre program at Roseville Area High School, and I’m excited to help the next generation of artists grow in their craft. Beyond that, I’m looking forward to seeing what creative opportunities come next. I’m especially eager to produce another project through my own company, EnCompass Theatre, and continue creating work that sparks conversation and connects with audiences.

Basil Considine
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