POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive

Written By Selina Fillinger | Directed by Alice DaCunha

Harrison Pina

Production Dramaturg

POTUS Dramaturgy Resource!

This living document will serve as a valuable hub of resources exploring the history, culture, and other important information revolving around Selina Fillinger’s POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive.

As this production’s dramaturg, it is my goal to support the cast, crew, and creative team by providing context, information, and answers to any curiosities regarding the play. Feel free to ask any questions or make suggestions as to how I can aid this process either through email (at hpina@luc.edu) or in person at any time!

Selina Fillinger

Writer | Performer | Three-Time Tony Nominee

Selina Fillinger was born into a Jewish family in Berkley, California spent the majority of her childhood in Eugene, Oregon before attending Northwestern University. Studying acting and playwriting at Northwestern led to the start of her professional career, being the first recipient of the Judith Barlow Prize (an award celebrating a student-made, original one-act play inspired by the work of a historic woman playwright) as well as having her work featured, two years in a row, at Northwestern's Agnes Nixon Playwriting Festival (which focuses on the creative development of three new undergraduate plays).

At the end of her senior year, she received commissions to produce her works in Northlight Theatre (Faceless in January 2017) and Sideshow Theatre (Something Clean premiering at the Roundabout Underground in New York in 2019). Following her young success, at just 28 years old, POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive premiered on Broadway (Shubert Theatre; April 2022). The play received three Tony nominees and made her one of the youngest playwrights to have their work produced on a Broadway stage.

About POTUS

Selina Fillinger’s self-described political farce features an entirely female cast occupying differing roles within the White House. The women soon become responsible for managing and finding their way through a hilariously chaotic sequence of events.

After the President makes a brash comment about his wife's attitude, ties and relationships with the United States presidency quickly shift with external complications. Harriet, Jean, and Margaret try to manage the situation as it becomes more disastrous with a barrage of PR nightmares introducing Stephanie, Dusty, Chris, and Bernadette and untimely personal matters involving the President. Tensions rise further and ends with an unconscious and potentially dead President.

The women trying to hold everything together bounce between solutions for dealing with this crisis, attempting to hide the body and even stage a fake suicide. Turns out, the President is not dead and revived right before having to address the public as the ensemble cast ponders their place in future White House matters.

The play overall offers the niche of a feminist farce with hints of political satire illuminating the American political system through a perspective that gives necessary spotlight on the perspective, especially pertaining to that of a woman.

Rooms in The White House

Scene 1.1 - Press Secretary’s Office

Scene 1.4 - Women’s Restroom

Scene 2.1 - Somewhere in the West Wing

Scene 2.4 - The West Wing

Scene 1.2 - Outside the Oval Office

Scene 1.5 - Chief of Staff’s Office

Scene 2.2 - The East Room

Scene 1.3 - Press Secretary’s Office

Scene 1.6 - Somewhere in the West Wing

Scene 2.3 - The Oval Office

The Seven Women Trying to Keep Him Alive

Harriet

His Chief of Staff: Role originated by Julie White; The Witty Servant/Zanni (manipulates decisions and devises plans while offering comedic commentary and alliance with other characters); representations of morality, burnout, labor, femininity/identity, mentorship, and motivation.

Jean

His press secretary: Role originated by Suzy Nakamura; Ingénue (innocent and potentially naive character, frequently a victim or subject to misdirection) and The Obstinate Figure/Vecchio (often tries to stop the lover from reaching their goals often coming from a place of wisdom, wealth, or social reasoning); representations of maturity, invisible labor, undervalued, emotional exhaustion, and leadership.

Stephanie

His secretary: Role originated by Rachel Dratch; The Scholar/Il Dottore (intellectual who can sometimes be pompous, whose knowledge can lead to humorous blunders) and The Buffoon/The Clown (subject of slapstick and physical humor); Representations of occupational motivation, self-doubt, anxiety, and insecurity.

Dusty

His dalliance: Role originated by Julianne Hough; The Lover/Innamorato (Driven by love and romantic desires) and The Buffoon/The Clown (subject of slapstick and physical humor); Representations of stereotype (bimbo), underestimation, resilience, dysfunctional social expectations, and emotional aspects of the play’s main message.

  • FDR’s long relationship with his wife’s social secretary, Jaqueline Kennedy reportedly telling a journalist who was sleeping with her husband in the White House, the Clinton-Lewinsky Scandal,

Bernadette

His sister: Role originated by Lea DeLaria; The Boastful Character/Il Capitano (cowardly braggart influenced by an inflated sense of self that is often ridiculed or exposed) and The Lover/Innamorato (Driven by love and romantic desires); Representations of felonious family, contrast to the White House’s professionalism, romantic and familial tensions, resistance to structure, honesty, and chaos.

  • Reference to Billy Carter: Brother to President Jimmy Carter (39th), became known for his boisterous personality and hard-core drinking habits.

  • Nixon ordered wiretaps on his brother’s phone, Lyndon B. Johnson ordered the Secret Service to keep his brother prisoner to control his drug habits, Bill Clinton’s half-brother’s Secret Service code was “headache.”

Chris

A journalist: Role originated by Lilli Cooper; The Obstinate Figure/Vecchio, The Scholar/Il Dottore, The Witty Servant/Zanni; Representations of resilience, societal tensions, observation and instigation, contradicting ambitions, motherhood, societal structures, transition, and truth.

Margaret

His wife. The First Lady: Role originated by Vanessa Williams; Ingénue, The Witty Servant/Zanni, The Scholar/Il Dottore; Representations of incompetent or performative relationships, confidence, ambition, diplomacy, social influence, structurally forced sidelining while maintaining professionalism, hypocrisy of power, and nuance.

Glossary

(Chronological Order)

Relevance of Feminism

Feminism in the United States. Feminist history in the United States can be categorized into four distinct waves. Though there were many prior examples of female empowerment, the First Wave (1848-1920s) focused on legal aspects of how women were treated. In this wave, the suffragette movement began to make a name for itself with events like the Seneca Falls Convention, organized by Elizabeth Cady Stanton and Lucretia Mott, where the Declaration of Sentiments (demanding equal rights and outlining suffrage) was drafted. This was followed by the establishment of the National Woman Suffrage Association (1869), founded by Susan B. Anthony and Elizabeth Cady Stanton. After many years of fighting and the spread of this foundational movement, the 19th Amendment (women’s right to vote) was secured. This initial wave (though crucial and empowering) solely focused on white middle-class women, excluding women of color and lower classes.

The Second Wave (1963-1980s) introduced a broader range of activism, including education, reproductive rights, legal inequality, and employment. Key topics during this wave feature the publication and popularization of The Feminine Mystique (1963) by Betty Friedan, which critiqued the societal expectations of women, the founding of the National Organization for Women or NOW (1966), Roe v. Wade in 1973 legalizing abortion nationwide, and the introduction of Title IX which prohibits sex and gender discrimination in federally funded education programs. This era of feminism bolstered the call for social freedoms for women, but again often lacked intersectionality as it focused primarily on the needs of white women.

The Third Wave (1990s-2011) sparked the initiative to include diversity, individuality, and identity into the mix. During this wave, the term intersectionality became more common with people like Kimberlé Crenshaw (civil rights advocate and a scholar of critical race theory) alongside the embracing of LGBTQ+ rights and sex and body positivity. Feminism started to permeate pop culture as certain ideas like a universal female experience began to become more rejected by this feminist movement.

The Fourth Wave (2012-current) has taken wing through the popularity of social media, which mobilized and raised awareness for topics such as violence toward women and gender justice. In 2017, the #MeToo movement, founded by Tarana Burke, started a large protest toward sexual assault and harassment, while advocacy rose for consent education, trans rights, and non-binary inclusion.

Feminism in Politics. One of Fillinger’s motivations for writing the play came from how women were spoken of in political spheres, specifically mentioning Donald Trump’s “pussy-grabbing tape” upon his selection as the Republican Party’s presidential candidate. Second Wave feminist Carol Hanish’s slogan “the personal is political” has additionally been a primary focus in political feminist ideology. Many with a feminist ideology hence agreed on a call to politicize the private sphere in addition to the public sphere, especially as the previous legal victories didn’t guard against what would happen in private (like domestic violence or workplace inequality). There is also a call to attention in political philosophy claiming that the current political theories largely don’t include a female perspective due to the majority male presence in politics and the social state in which the United States government was built, one that prioritized men. From this came a modern Feminist Political Theory, which overall aims to reconstruct and understand conventional political theory, critique current and past political theory, and support political sciences that factor in gender bias to support better statistical conclusions.

Feminism in Farce. There will be more on this in the following section. Farce and comedy on live stages and television were primarily occupied by male performers, often not leaving much room for female opportunity.

Genre: Farce

What is Farce? Farce is characterized by slapstick humor, stereotypical characters, exaggeration, over-the-top violence, and unlikely situations. The origins of farce can be found in Greek and Roman theatre, specifically in the comedies of the Greek Aristophanes (446-386 BCE) and the Roman Plautus (254-184 BCE), as well as in the early Italian work, fabula Atellana (300 BC). The form of comedy can be recognized from early French descriptions of the form, which include clownery, buffoonery, or caricature. Farce made its way to modern interpretations through vaudeville (1880s-1920s) and screen figures like Charlie Chaplin (1889-1977) and the Monty Python comedy troupe (1969-1983). Farce can now be seen in a variety of modern media on and off the stage (examples: The Play That Goes Wrong, 30 Rock, Home Alone, The Three Stooges, Oh, Mary!, Brooklyn Nine-Nine). This comedic form has been occupied by mostly male performers due to its history with stunt and clown-style execution.

Farce and Satire. While farce and satire can often share a methodology for comedic performance (irony, comic humor, exaggeration, caricature, ridicule, etc.), they are not the same thing. The difference is in the goal or purpose behind the performance: satire emphasizes a commentary and underlying message, farce emphasizes entertainment and humor. Achieving these goals is what sets the two forms of comedy apart. Satire will often focus on individuals to poke fun at, whereas farce focuses on the actual event itself. Farce can still offer criticism, but that criticism is more often focused on larger systematic pictures rather than minute figures or details. Especially in the political context set in POTUS, the recognition of the two forms as separate genres may be important to note.

Production History

Broadway (Shubert Theatre): April 27, 2022 - August 14, 2022

New York, New York

Dir: Susan Stroman

Arena Stage: October 13, 2023 - November 12, 2023

Washington, D.C.

Dir: Margot Bordelon

Curious Theatre Company: September 7, 2024 - October 13, 2024

Denver, Colorado

Dir: Jada Suzanne Dixon

Tesseract Theatre Company: May 22, 2025 - June 1, 2025

St. Louis, Missouri

Dir: Jessica Wingham

Trinity Repertory Theatre: September 5, 2024 - October 27, 2024

Providence, Rhode Island

Dir: Curt Columbus

Emerson Stage (Emerson College): September 25-28, 2024

Boston, Massachusetts

Dir: Kate Cherry

Steppenwolf Theatre: October 26, 2023 - December 17, 2023

Chicago, Illinois

Dir: Audrey Francis

Other Resources!

Other Articles/Research:

Alice Da Cunha’s Farce Examples:

It’s a Mad, Mad, Mad, Mad World, Some Like It Hot, Arsenic and Old Lace, Animal House, Monty Python, Blazing Saddles, Cheech and Chong’s Up in Smoke, The Birdcage (based off La Cage Aux Folles), A Fish Called Wanda, Three’s Company (TV Show), National Lampoon’s Vacation movies, Clue, Mr. Bean, Fawlty Towers (TV show), Frasier (TV show), Ace Ventura: Pet Detective, American Pie, Bridesmaids, Stepbrothers, 30 Rock (TV show), Absolutely Fabulous