Happiness Over Wealth

Holiday

Johnny Case, a self-made, 30-something Wall Street lawyer, met Julia Seton at a spiffy health spa in New York City. His visit to the holiday health facility was a gift from his friends for all his hard work and helping them with some fundraising. However, he never expected that a day of luxurious pampering would result in a romance and an engagement to this lovely young woman. What Johnny didn’t realize at the time was that Julia (who was using an assumed surname) was a member of the affluent and legendary Seton clan, one of the wealthiest families in New York City, if not all of America. He doesn’t discover Julia’s real identity until he visits her at the family’s ostentatious Upper Eastside mansion. But when Johnny meets the entire family, including, Edward Seton, the demanding patriarch of the clan, the situation begins to shift.

Richard Greenberg, the late, talented Tony Award-winning author of TAKE ME OUT, penned this new, contemporary update of Philip Barry’s romantic comedy. Following the Broadway success of the original HOLIDAY, it was adapted and filmed twice for the silver screen. Interestingly, the original 1928 comedy was written just before the crash of the stock market that resulted in the Great Depression. Greenberg’s version is set during the holiday season, between Christmas, 2019 and the New Year of 2020. Both Barry’s and Greenberg’s comedies poke fun at the frivolous attitude of the upper class, while celebrating nonconformity and choosing happiness over money. In Greenberg’s modern version of the comedy, the themes of  privilege, class and personal fulfillment are put under the microscope.

Chicago actor Luigi Sottile (SHAKESPEARE IN LOVE at Chicago Shakespeare Theatre; THE BOOK OF WILL and THE GARBOLOGISTS at Northlight Theatre) stars as Johnny Case, the up-and-coming Wall Street lawyer, originally from a working class family, who falls for Julia Seton, nicely portrayed by Broadway actress, Molly Griggs. What Johnny really wants to do is leave his unfulfilling, high-pressure job and enjoy life, once he’s financially able. But his intended love, while at first attracted by Johnny’s admirable attitude, begins to have doubts. But Julia’s older sister, Linda (gloriously portrayed by Bryce Gangel, in her Goodman debut), turns out to be a far more intellectual and spiritual equal for Johnny. Ms. Gangel has appeared in productions at Rivendell, Remy Bumppo and the Court Theatres.

The Seton clan of 5th Avenue in Manhattan are a most interesting collection of unique individuals. The patriarch seems to run his family more like a corporation, than a group of relations, bound by love. Edward Seton is portrayed with an icy, austere countenance and complete authority, by respected New York actor and founding member of the Atlantic Theater Company, Jordan Lage. Laura and Seton Cram are a pair of crazy, self-entitled and insufferable cousins, who casually drop by occasionally, just to stir things up.  They’re played with madcap delight by Alejandra Escalante and Erik Hellman. And, not related to the Setons but friends of the family, lesbian couple Nikka and Susan, played by Christiana Clark and Jessie Fisher, pay a couple of visits to the Seton household and bring more common sense and comic moments.

But easily the most interesting, and easily the audience’s breakout favorite character of this production, is wickedly wise brother, Ned. He’s portrayed with a strong comic skill and an air of playfulness by Broadway musical star, Wesley Taylor (ROCK OF AGES, THE ADDAMS FAMILY, SPONGEBOB THE MUSICAL). Much like a gay, modern-day version of Oscar Levant, Ned floats through the play offering glib observations and wise, but dry commentary that really hit home. Every line and every gesture hits its mark. Ned’s forever on the wagon, being addicted to social drugs and alcohol, but it only makes this character come off as more likable, as well as the smartest, most relaxed and easy-going member of the Seton clan. Mr. Taylor absolutely lights up the stage with every entrance, and earns applause with each exit. I would’ve been delighted if this play had revolved around Ned.

But the production has a few problems. The production limps along much of the time. When pacing isn’t lightning fast it is particularly fatal for comedy. At times, we loose the play’s inherent charm when the momentum stalls out. And the main character of Johnny Case, while often funny and engaging (especially during his humorous dance break in the attic), sometimes lacks the warmth and caring found in a romantic leading character. We ask ourselves, what exactly attracts Linda to Johnny? She’s an intelligent young woman who clearly prefers a life filled with brio, rather than big bucks. But until the surprising New Year’s Eve kiss, Linda and  Johnny’s love for each other isn’t clear.

Technically this production is especially awesome. Walt Spangler’s stunning, minutely-detailed set design, straight out of Architectural Digest, invokes applause when the Act I curtain rises. His opulent great room is just that: Great! Cold, a bit sterile, but tastefully decorated and elegantly furnished, Spangler’s scenic design screams “Money and breeding!” Then, for Act II, the designer has created the antithesis look—a magical, mystical fantasyland of a playroom that’s highlighted by antique toys, colorful artwork and shining stars painted everywhere. This is the room that the late Mrs. Seton created before her untimely death. Where Act I is light, airy and vapid, Act II is warm, welcoming and the embodiment of joy and creativity. Bravo to Mr. Spangler!

And adding to the technical genius of this production is Kaye Voyce’s distinctively discriminating costume design. This talented theatre artist has obviously researched and then perfectly recreated the upscale look of seven years ago. And additional contributions to this show by lighting designer Amith Chandrashaker and composer and sound designer Richard Woodbury add another brilliant element to this production.     

Goodman continues its celebration of 100 years of wonderful, innovative productions with this contemporary romantic comedy. It was the final work by the late, great playwright, Richard Greenberg. The production is funny, focused, yet a little slow at times. It’s lovingly guided by former Goodman Artistic Director, Robert Falls. He returns to his home to provide this play with his signature creativity, taste and flair. A meeting between old and new money clash in this story, creating a conflict between happiness and wealth, which becomes the focus of this lighthearted play. With so many heavy dramas emerging on Chicago stages this Winter, HOLIDAY is a welcome contrast. As Susan V. Booth, Goodman’s current Artistic Director, proclaims: “this is a smart, funny and utterly delightful work for the dark winter of a dark year.” I couldn’t agree more.

Recommended

Reviewed by Colin Douglas

Presented January 31-March 1 in the Albert auditorium at the Goodman Theatre, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.