Reviews Category
Steep’s ‘Love and Money’ confronts the big ideas honestly
By Devlyn Camp
“I am a photosynthesist of cash,” states the boss in somewhat of a metaphor, comparing her work to the scientific process that creates energy for plants. Her employee, whose story is told in seven reverse-ordered vignettes, struggles to survive a marriage that aches for a piece of that cash flow. From exposing the twisted demise of his wife in the opening scene, the play takes steps backward in time to reveal the relationship’s deconstruction.
Each scene creates the setting and story based in delightfully awkward British humor. Much like Jennifer Egan’s novel A Visit From the Goon Squad, each character, from the boss to the husband to the wife’s babbling parents (played by quick and funny Jason Michael Linder and Molly Reynolds), shows a piece of the story from their perspective and admits their financial struggles. Those issues subtextually, and sometimes straightforwardly, disclose the problems circulating through their love lives. Scenes play out in Director Robin Witt’s clever blocking, and occasionally lack thereof, which is also smart. Many monologues – and even dialogues – are played standing stationary and out to the audience, leaving a viewer to focus on the wit and point of the words. Playwright Dennis Kelly’s words flesh out morals on top of morals: fixing one’s mistakes, dealing with karma, ethical methods of earning money, et cetera.
While many of the scenes start off funny and almost cute, they all progress to serious matters that anyone who’s ever paid a bill can relate to. The script and actors are genuine and entertaining, obviously understanding the kind of job where little money is made from a lot of passion. While the theme stands on a Sondheim-esque “life sucks” sort of policy, there are honest moments when one can truly believe money can’t hurt them anymore.
The play is obviously about love and money, but moreover, their byproducts. When discussed in a final, absolutely astonishing and candid monologue performed by Julia Siple, everything in life comes down to a person’s choice of valuing flesh and blood or finance. Depending on your own criticism and perspective, Steep allows you to make the choice.
LOVE AND MONEY
Steep Theatre Co.
Through February 25th
Tickets $20-22, available at steeptheatre.com
Molly Reynolds, Jason Michael Linder; photo courtesy Lee Miller
Contact critic at devlynmc@yahoo.com
Well-played game at Lookingglass, ‘Mr. Rickey Calls a Meeting’
By Devlyn Camp
In an effort to do some good, Branch Rickey began to take the necessary steps to integrate Major League Baseball in the early 1940s by creating a plan to sign Jackie Robinson to the Brooklyn Dodgers. Through the newest Lookingglass production Mr. Rickey Calls A Meeting, a fictional encounter of entertainment and baseball legends is played out. Legends attending in Ed Schmidt’s story include boxer Joe Louis, tap dancing king Bill “Bojangles” Robinson, actor and suspected communist supporter Paul Robeson, and of course Jackie Robinson (who, to the baseball illiterate, was the first black player admitted to the Major League since the 1880s). Also in and out of the meeting, to our comic relief, is Clancy the young bellhop and baseball fan.
In an engaging conversation, Rickey (Larry Neumann, Jr.) explains his plan to the gentlemen in order to create a unanimous agreement to support integrating the league. For Bojangles, this means risking his partial ownership of a Negro National League team. Robeson spends the act trying to understand Rickey’s hidden motivations, while Louis seems to be supportive either way. As the gentlemen argue, Clancy (Kevin Douglas) runs errands for Mr. Rickey, all the while persistently trying to snag autographs from his heroes. Douglas is quick-witted with great timing to match Bojangles actor Ernest Perry, who is purely delightful in his character.
On a half-diamond hotel room set lined by the powder of a baseline, Rickey breaks down the plan of a quiet revolutionless integration. Faithful to the facts, he asks Robinson to actually not fight the forthcoming disagreements, but to have “guts enough not to fight back.” As in many stories of integration, the plan must be executed with the right amount of theatrics in order to save face. It becomes clear that Rickey’s plan is not just altruistic, but self-serving, as black fans of the Yankees will move over to the Dodgers, as well as fans from the Negro National League. Through Clancy’s innocent eyes, as it wasn’t evident before, his heroes have their own demons. Bojangles is a gambler, Louis has anger issues, and Robeson, well, the communist issue comes up often, naturally. The conversation turns out the pros and cons of showmanship and reputation versus making radical change for the better. Money’s worth seems to hold more power than moral worth. As we can see by looking at MLB today, everything turned out to be copacetic.
MR RICKEY CALLS A MEETING
Lookingglass Theatre
Through February 19th, 2012
Tickets $20-$68, available at lookingglasstheatre.org
Kevin Douglas, James Vincent Meredith, Javon Johnson (left to right), photo courtesy Sean Williams
Contact critic at devlynmc@yahoo.com
Blending Old Blue Eyes and Back Flips
By Lazlo Collins
With the first notes of the show sending an instant nostalgic swoon through the audience, “Come Fly Away” was off and dancing with signature Sinatra songs.
This dance and music piece ran on Broadway from March through Sept. in 2011. It was conceived, choreographed, and directed by Twyla Tharp. The one Tony, two Emmy, Kennedy Center Honored Ms.
Tharp is no stranger to the dance/musical genre. In her 2002 “Movin’ Out” dance adventure, she used Billy Joel as her muse.
This time around, Frank Sinatra sings his classics, while the dancers tell the story of four couples who fall in and out of love at a swanky nightclub.
With the opening number of “Stardust” finding us with the first of our star crossed lovers, the black scrim rises to reveal a 13 piece band. The band plays just in back, and upstage of the dancing space. A shiny bar, sleek staircase, and a few well-placed tables complete the nightclub scene. Amid the sparkle curtain background, the musicians are always on the stage moving our dancers to their next tableau.
I have to say that many times during the show; I kept looking for the singer himself. Of course, I know Frank Sinatra has been gone from popular society in physical form for a while, but you wouldn’t know it from the head bobbing and sighs from the audience whenever a familiar tune began to play. Some of the hits to be heard included: “Fly Me to the Moon”, “That’s Life”, “One for My Baby”, and “My Way”.
With digital Frank crooning and the band firmly in place, the dancers were ready to “face the music and dance.” The principle dances in order of appearance were, Mallauri Esquibel, Ron Todorowski, John Selya, Ashley Blair Fitzgerald, Marielys Molina, Anthony Burrell, Matthew Stockwell Dibble and Meredith Miles. Each dancing couple projected the story of flirtation, romance, sex and love lost with a physical intensity that made you sit up and take notice. I enjoyed the diversity of dancing approaches from each couple. The Twyla Tharp style is unmistakable; with its athletic leaps and arm contortions. Her choreography can be so bold and physical. Some of the lifts, with their twists and turns, look like complex puzzles between to lovers. The ensemble dancers are equal in there expert execution of the peripheral characters, providing the audience some of the more synchronized choreography.
The lighting and sound are two, well planned and executed elements that are extremely important to the show and do not disappoint. The mood lighting is superb during the more intimate dances. I know the stars aligning to present Mr. Sinatra’s image at the “New York, New York” finale is corny, but I loved it. I think the audience did too. It connected the image of the man back to the voice.
“Come Fly Away” is a beautiful tribute to the Sinatra songs you love, with breathtaking dancing. The pre-show check list should have you interested in the love of modern dance OR the music of Frank Sinatra; but not necessarily both. The show is 80 minutes long with no intermission. The length of time is perfect for enjoying the show without longing for a more comfortable seat, or the urge to change the music on your iPod.
‘In the Heights’ tour features big talent and big voices
By Devlyn Camp
Not so far away from the tunes tapped on Broadway, the Washington Heights barrio features it’s own melody. It took years of effort, but finally, the 2008 musical In the Heights breathed Broadway life into the Latin and hip hop scores of the streets, going on to win the Tony Award for Best Musical and, of course, hit the road. In this production, now at the Ford Oriental Theatre, a new cast introduces Lin-Manuel Miranda’s (Music, Lyrics) original story.
Usnavi (Perry Young, in Miranda’s original role) tells the barrio’s story, although the acting is sometimes flat and awkward. He finds a quirky spot in Vanessa’s (Presilah Nuñez) heart though, and one can’t help but root for him. That every-leggy Nuñez is glamorous, powerful, and knows how to drop jaws with a silky solo number. In Vanessa’s effort to find a new home, she falls for Usnavi, who wants to leave his home, too, and head for his home country, the Dominican Republic. The cast also features strong voices in nearly every performer, among a dash of less-than-decent acting. Nina’s (Virginia Cavaliere) milky high notes in her song “Breathe” are even more appreciated when put next to her dull character. It’s difficult to put your finger on it, what’s wrong with the performer. Bad acting is just something one knows when they see it. When an audience member remembers that they’re in an audience watching a play, the dream broken, that’s probably when they’re watching something not click onstage.
Although among the lows, the production has many highs. Sonny (Robert Ramirez), Usnavi’s little cousin, is so smug and adorable. He is the comic relief of most scenes and leads the show’s funny bone along with the gossipy salon women. When the full cast finally comes together in the song “96,000,” there a vocal strength that outshines any flaw one caught earlier in the production. The sound is precise, the lights follow suit, and choreography is so wild it’s difficult to process in words. When the number is over, the audience has to catch their breath too.
Each song and scene is decorated with citizens walking around the barrio in contemporary choreography. The walking movement is altered to match a hip hop sound underscore. (The music, by the way, is a pretty impressive work by Miranda.) As each character focuses on how to find their way home, Abuela Claudia (Christina Aranda) happens to find her success very late in life. The younger generation, who were brought to this town by Claudia’s generation, seeks to leave to find new territory, not recognizing the past’s sacrifice. In a twist for the better, a sense community is recognized and the friends-are-family theme is utilized. While seeming commonplace here in the written text, onstage it is quite a beautiful layout. This street intersection (a gorgeous forced perspective set design by Anna Louizos) is where the insanely talented common people call home. Their everyday problems are supported by the friends on this block, and, as the smart lyric directly states, “When you have a problem, you come home.”
IN THE HEIGHTS
Broadway in Chicago
Through January 15, 2012
Tickets $25-$75, available at BroadwayInChicago.com
Photo courtesy John Daughtry
Contact critic at devlynmc@yahoo.com
Ironmistress at Oracle: sensitive, smart, tough as nails.
By Devlyn Camp
In a time when the phrase “public access” usually triggers thoughts of basic local television programming or free, below mediocre anything, it should be known – if you haven’t heard already – that Oracle Production’s “Public Access Theater” evokes a much different connotation. Their means free seats – and here’s the part where the critic comes in – to great theater.
Opening this weekend, Ironmistress presents a dreamlike relationship between nineteenth century mother Martha (Katherine Keberlein) and daughter Little Cog (Sarah Goeden) who inherit the husband’s iron factory. As Martha tries her hand at preparing her daughter for impending adulthood, she becomes wrapped up in the series of stories Little Cog recalls from their past.
In the days prior to public broadcastings, when parent and child would sit in their home telling stories, Little Cog recites tales in unison with her mother, enjoying them as the first time she heard them. Goeden is playful and childlike, diving headfirst into her stories’ worlds. Reluctant to relive the past, Martha stands stoic, until she is pulled in by her daughter’s charm. Keberlein is quick-witted and commanding. Her proud jawline and sovereign ruling over the stage from inside her leather bound skin are simultaneously startling and magnetic.
Surrounding and emphasizing the bold women are skillfully simple and smart lighting designs among the tense, mechanic sounds of an iron foundry. The spooked setting and scenic design leave the practically onstage audience wrapped inside the same dream with the disarrayed family.
Playwright April De Angelis’s dark-humored and sharp drama twists around the mother-daughter storytelling that reveals Victorian England’s commonplace expectations of women. Martha seeks to train her daughter for proper behavior, Cog seeks to imagine, play and grow on her own accord. In a 75-minute one-act, there is no easy way to take sides of two wonderfully acted characters who both strive for well-being. Martha, who follows the philosophy of making one’s self iron over emotions, only wants to tie down the freethinking Cog for protection from her thoughts for building, evolving, and flying away.
Sometimes it seems intelligent black box theatre is sparse. A show is too heavy handed and dark, a show contrives too many jokes, a show just isn’t pieced together properly. Ironmistress is none of the above, and is wholly beautiful and smart with the right dash of dark humor.
IRONMISTRESS
Oracle Productions
Through February 11, 2012
Tickets are free and available by reservation at
Sarah Goeden and Katherine Keberlein, photo courtesy Ben Fuchsen.
Contact critic at devlynmc@yahoo.com
Joffrey’s “The Nutcracker” Offers Holiday Delight
Joffrey Ballet’s The Nutcracker at The Auditorium Theatre
Runs December 9-27, 2011
Tickets $30-$115; Box Office (800) 982-2787; www.ticketmaster.com
Recommended
Review by Darcy Rose Coussens
It may not be Joffrey’s #1 Ballet, but “America’s #1 Nutcracker” Delights All
The Joffrey Ballet’s annual production of Robert Joffrey’s The Nutcracker is well attended each year by little girls in poofy dresses and hair bows, miniature gentlemen in pressed shirts and slicked hair, and adults of all ages. Hailing theirs as “America’s #1 Nutcracker,” Joffrey provides a favorite holiday tradition for many in the Chicagoland area. This ballet is performed by many companies across the country, and yet although Joffrey’s is quite good and a grand experience overall, I’m not sure it is my #1 favorite Nutcracker. Although this theatrical ballet was extremely entertaining and at times breathtaking, there were a few flaws that surprised me from this renowned company. However, it is nonetheless an excellent performance and one I hope they will continue to offer each holiday season.
Several elements of the production were of the highest quality, as is usual for the Joffrey. The Chicago Sinfonietta accompanied the performance with Tchaikovsky’s classic score, and the larger-than-life sets and decorated costumes were extravagant. The party guests were dressed in ruffled dresses and petticoats, and brightly colored tailcoats; the mice wore shining silver masks; and Mother Ginger was an enormous walking puppet. The Nutcracker’s transition from doll to life-size soldier was very cool, and there were several exciting elements of spectacle on display throughout the show. The snow scene was absolutely beautiful with fog and snow falling, and I got chills when the Snow King and Queen made their second entrance to the sound of a children’s choir.
One reason to see the Joffrey’s Nutcracker is for the company’s high caliber dancing. The company members were outstanding overall, and Clara was absolutely darling. Her family members were cleverly weaved into the characters of her elaborate dream: her parents also performed the Snow King and Queen as well as other roles, and her brother Fritz danced other roles, as well. His dancing was some of the best in the show, and during a very impressive series of leaps and turns one little boy near me was audibly inspired. However, I questioned his casting as Fritz, Clara’s annoying brother, because his character’s youthfulness looked strange and distracting on a grown man. This ballet involves a great deal of pantomime and storytelling, and although most of the time the story was clear, there were some confusing moments. One in particular involved a child in an old-fashioned wheelchair brought to the center of the stage. Drosselmeyer, Clara’s mysterious godfather, threw magic glitter on him and I felt the audience holding their breaths; then nothing happened and the child was wheeled away, bringing the party scene from inclusive and diverse to awkward.
The choreography was elegant and exciting, but occasionally baffling. Tchaikovsky’s famous score was meant for, well, the ballet. There are several obvious musical cues that were completely ignored, and the disconnect between the music and the story was off-putting. The second act ran much more smoothly. The Sugar Plum Fairy and Cavalier’s pas de deux was stunning, and the Sugar Plum Fairy’s famous solo was pristine and precise. I was underwhelmed by the Cavalier’s dance, one I always look forward to for its powerful jumps, because it seemed brief and anticlimactic. Yet the Arabian dance was mesmerizing, the Spanish dancer flawless, and the Waltz of the Flowers one of the most beautiful highlights of the show. This act felt much more like a Joffrey ballet than the first.
Don’t get me wrong; overall this is an enchanting production, and the flurry of activity and focus on presents, toys, and candy is a Christmas dream for children. However, it was the children in the show I was perhaps most confused by. The children in the production did a nice job: they smiled, performed well, and looked lovely in their costumes. Five children’s choirs from the area are featured in the snow scene and perform in the lobby during intermission. Young dancers appeared as Victorian children, dolls, mice, toy soldiers, tree angels, and Polichinelles. The one thing missing was … the dancing. Of the more than one hundred children cast, only the Polichinelles in the Mother Ginger scene did any dancing. This scene was adorable, and the kids did a fantastic job. Audiences love to see children dancing, and of all productions of the Nutcracker in the area, I would expect Joffrey’s to showcase some of Chicago’s most talented children. I was extremely disappointed by the lack of choreography for the young dancers; the poor tree angels ran onstage, stood, and ran off again. I know there are many capable young dancers in the area, as is evident by the Joffrey’s claim that audition numbers for the children’s roles rose by “a double-digit percentage from last year.” The children they cast performed well, and I wish I could have seen them dance much more.
Clara and Drosselmeyer leave the land of this fairytale dream in a hot air balloon for a rather Wizard of Oz-ish but satisfying ending. As a lifelong fan of the Nutcracker, I was at times disappointed but overall content with this traditional favorite. While as a Joffrey production The Nutcracker may not be their #1 ballet, I am glad that its renown brings joy and inspiration to so many families and audiences in Chicago and beyond. I recommend this production for family entertainment, even if ballet aficionados may fixate on small flaws.
Chicago Tap Theatre brings the tip top of holiday cheer with ‘Tidings of Tap’
Tidings of Tap by Chicago Tap Theatre
At the University of Illinois at Chicago (UIC) Theater
Ran December 9-11, 2011
Tickets $20-$35
Highly Recommended
Review by Darcy Rose Coussens
Tidings of Tap celebrates the season with top-notch tapping and creative takes on holiday favorites each year
As a wonderful alternative to sentimental holiday productions, Chicago Tap Theater’s annual holiday show brings together the best carols of the season in a fun show full of truly outstanding tap dancing. Mark Yonally founded a very unique company, and his artistic direction and choreography keep each of their shows fresh and exciting. Tidings of Tap is a traditional favorite in their season, bringing back favorites such as their a cappella rendition of “Carol of the Bells” each year and appealing to Chicagoans of all ages. This family-friendly show is an energetic flurry of tap and music to get you in the holiday spirit.
This year CTT is committed to providing live music for each of their shows, something I believe adds a great deal to the performance for such a percussive art form. The band featured a keyboardist (talented composer and music director Andrew Edwards), as well as musicians playing harp, violin, bass, and clarinet. Dancers also stepped in and out of the band to sing and play guitar, and violinist Samantha O’Connell was featured tapping in some pieces, as well. It was great to have such a blend of talent, and the performance was dynamic musically as well as through the expert choreography and skilled dancers.
This show does a great job mixing up holiday carols. There are Christmas-themed pieces such as “Have Yourself a Merry Little Christmas” and one of my favorites, “You’re a Swingin’ One, Mr. G” which involved an interesting arrangement of “Mr. Grinch” and lots of funny expressions; Hannukah songs, including “Hannukah, Oh Hannukah” and “Kiever Dreydlekh” (Dreidels of Kiev); and just plain winter celebrations, such as “Winter Wonderland” and “Snowflake Suite.” This is a great show for all ages, and at the end everyone is welcome to join the cast on stage to perform the Shim Sham, a standard favorite for tap dancers everywhere. It was exciting for tap dancers from seniors to six-year-olds to get up and tap themselves, since the choreography was so catchy you wanted to try it yourself!
The company members are extremely personable, especially Mark, who came out to talk to the audience himself. To cover costume changes, he improvised a solo to “Christmas Time is Here,” which was as impressive as the choreographed numbers, and the two newest company members played name that tune with the audience by tapping favorite carols. Every bit of CTT’s shows are enjoyable, and they produce a varied season that includes a story-based show which will be narrated live this year by Marc Smith, creator of Poetry Slam. Their shows have a laid-back feel but the dancing is always meticulously polished and often involves unbelievably fast feet!
Tidings of Tap also featured a few outside youth performing groups on different nights. The performance I saw featured Footprints Tap Ensemble from Libertyville, and they were excellent. While the show was a bit pricey at $35 for adults, $25 for seniors, and a discounted $20 for students and dancers, I would still be willing to spend that kind of money to see some of the best tap dancing Chicago has to offer. There’s not a whole lot of it out there, and this group brings more than just good tap dancing– it brings innovative and fun themes and concepts. I appreciate the variety and spirit CTT has to offer, and considering how well its three holiday shows sold, it seems Chicago values it as well.
A Christmas Story – The Musical is a major REward
By Lazlo Collins
The Chicago leg of a two week tour, “A Christmas Story” – The Musical opened at the Chicago Theater last night.
Amid a late but appreciative crowd, I was holding my expectations at bay. Having seen the movie that this latest endeavor is based upon, I was not at all sure that the musical would capture the warmth and charm of the original cinematic sequences and characters.
I am happy to report that this production of “A Christmas Story” brings to life the story of Ralphie and Co. to its most full holiday splendor.
The story of one boy’s dreams of a fulfilling fire armed Christmas is brought to life in vivid staging, costumes, and characters that are now classics in the Holiday must see checklist.
The story begins with expert narration by Gene Weygandt, playing “Jean Shephard” who recollects what it was like growing up in the Parker family household. His perfect deliver of observations and sentimentality, lets the audience know they will be well cared for during their journey into the lives of the Parkers and the surrounding neighborhood characters.
The introduction of each of the Parker household is next. We meet “The Old Man” (John Bolton), “Mother” (Rachel Bay Jones), brother “Randy” (Matthew Lewis), and “Ralphie” (Clarke Hallum). To say that each plays their rolls to perfection would be an understatement. Each presents themselves and their points of view through the story with ease.
Mr. Bolton’s gives 110% every minute he is on stage, and nearly brings down the house with his “Major Awards” musings. Every leg is available and makes it into the end of this high kicking musical number. In contrast, Ms. Bay Jones’ sweet number “Just Like That” makes us yearn for our own mother’s perspective just one more time.
Mr. Lewis and Mr. Hallum show the greatest affection as brothers, and are comfortable in their fights and fits of brotherly love; but Mr. Hallum as “Ralphie” soars above the cast as he brings “Ralphie” to life. He takes us along his journey of discovery, scheming, fear, and ultimate satisfaction with a magnificent voice and expert acting chops. The moment he opens his unexpected present near the end of the show, brought a tear to my eye. His crystal clear voice and warm heart will not disappoint those diehard “Ralphie” fans from the movie. (The original Ralphie, Peter Billingsley, was in the house, and who is also one of the producers of the show)
The excellent supporting children in the show were terrific. I have not seen a show in a long time where the children were playing children, and not some idea about how children should act. Little “Grover Dill” played by John Francis Babbo made me laugh more than a few times. All their voices and harmonies were spot on. Much praise for the pint size ensemble that made me want to be a kid again.
Some supporting cast notables were Karen Mason as “Miss Shields”, Nick Gaswirth as “The Foley Artist”, and Adam Pelty as “Santa Claus”.
Ms. Mason’s evil teacher show stopping “You’ll Shoot Your Eye Out” is bound to be a classic and Mr. Gaswirth’s dependable, if not scene stealing, sound effects were just great; particularly, the dogs and Mrs. Schwartz. And as the motivationally challenged Santa in the number, “Up on Santa’s Lap”, Mr. Pelty delivers it message with satisfaction.
The chorus of neighbors, parents and various service people are brought to life with great vocals and exacting choreography.
The direction by John Rando, kept the show moving with performance areas to discover, and with each scene quickly unfolding for the next one.
The set design (Walt Spangler) was a pleasant and appropriate addition to the story, making sure that some key places were present for the audience. For what would “A Christmas Story” be without Higgbee’s, the flag pole or the Santa Slide, right? The lighting design (Howell Binkly) was a key component to the white snowy stage, but never detracted from the action at hand.
The music and lyrics by Benj Pasek and Justin Paul were sweet and keeping with the tone of the storytelling, and yet bringing us some memorable show stopping numbers, producing a pleasant listening experience.
With the costumes (Elizabeth Hope Clancy) just right, the characters kept us enwrapped during the performance. The show’s energy and joy kept a smile on this face, even for a few hours after the full holiday adrenaline was over.
My only complaint was much of the show was directed toward dead center, leaving some viewers on the sides “left out” of some of the scenes that appeared in the Parker house. The radio desks at stage right and left may not have been a problem in a different house.
With the inundation of holiday choices to see and relive, year after year, put “A Christmas Story” – The Musical on your nice list. I know Santa has…
BoHo's clever holiday-sanz-Santa show: 'Striking 12'
By Devlyn Camp
The month of December is an incessant stream of holiday hits and Christmas carols of all shapes and sizes lasting about 24 days. Thereafter, holiday cheer is somewhat misplaced in a limbo between two major holidays. Refreshingly, BoHo Theatre has provided us with a season-friendly musical not about Santa and all the company that follows. On a lonely New Years Eve night, Matt Deitchman (on keyboard) gets a knock at the door from door-to-door light bulb salesgirl Mallory Nees (Guitar, Bass). Told by a four-piece band, the story is a somehow funny modern day depiction of Hans Christian Anderson’s “The Little Match Girl.” Obviously, the ending is much different.
Aside from the songs based
on Anderson’s tale, there are also playful numbers about the New Years Eve parties Deitchman is avoiding. Everyone is welcome to be annoyed about the parties they’re not cool enough to get invited to, and the weird people at parties they do get to attend. Throughout the one-act, the four musicians help Matt avoid his decline into spinsterhood with great jokes, creative sound effects, and near perfect vocals. Mallory Nees is the most entertaining of them all. Quirky and outrageous, she’s got faces, voices and characters galore, all while rocking out on her accordion. They’re all a little weird and all a little more than talented, with a book, music and lyrics to match. If the lyric they boast “Screwed up people make great art” is correct, then call them crazy.
STRIKING 12
BoHo Theatre at Heartland Studio
Through January 1, 2012
Tickets $15, available at bohotheatre.com
Photo courtesy Brandon Dahlquist and Bohemian Theatre Ensemble
Contact critic at devlynmc@yahoo.com
‘Santaland’ Snark Returns to Theater Wit
By Devlyn Camp
He takes a shot, sits back on his stool and says, “I am not David Sedaris.” Mitchell Fain has returned to Theatre Wit again with The Santaland Diaries, based on the story by Sedaris. To any readers unfamiliar with the work, in the story, Sedaris explains being so hard up for cash that he once became an elf in the New York City Macy’s store. Upon joining Santaland, Sedaris learned all the ins and outs of the magical world, slave-whipping Santas, and racist mothers. In a time when most anyone understands the need for a job, we can understand the desperate measures David had to reach. Fain even points out that just down the street there’s a donut shop parking lot in which two people dressed as a donut and coffee are dancing to Marvin Gaye’s “Let’s Get It On.” But perhaps David had sunk even lower.
In a stand-up style form of storytelling before a red curtain, it seems to readers of the book Holidays on Ice that the original is funnier in its text form. Once Fain gets suited up for work, though, it only gets better. In a green elf suit, an unshaven beard, and a middle finger in the spotlight, Fain hits joke after joke without coming up for air. Knowing he’s at the very bottom, it’s just plain fun to criticize everyone down there with him. Explaining the disturbing behind-the-scenes world of odd department store elfin policies might sound like I’m describing some sort of Macy’s exposé, but it’s just a one-act, one-man play making fun of really dumb people. And isn’t that what Christmas is all about?
THE SANTALAND DIARIES
Theater Wit
Through December 31st
Tickets $18-55, available at theaterwit.org
Photo courtesy Johnny Knight
Contact critic at devlynmc@yahoo.com
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