A Christmas Carol—Portland Playhouse—NE Portland

“God Bless Us, Everyone!”

This Charles Dickens’ classic tale is adapted by Rick Lombardo and music by Anna Lackaff and directed by Cristi Miles.  It will be playing at this space through December 29^th.  For more information, go to www.portlandplayhouse.org or call 503-488-5822.

This is the ultimate Christmas tale of redemption and good feeling.  Dickens originally wrote it for a  magazine, in the form of staves or sections/chapters, one appearing each week for nine weeks, unaware that it would become a classic.  Although other Christmas tales have become famous, like Miracle on 34^th Street and It’s a Wonderful Life, none have sustained like this story.  And one should not forget the reason for the season, as the first Christmas story was, of course, The Nativity, about He who would “make lame beggars walk, and blind men see (Bob Cratchit).”

The story has been filmed countless times in many incarnations.  The best of the bunch is Alaister Sim’s in a B&W, 1950’s, British version.  But some of my favorites have also been Albert Finney in a Brit musical version, Scrooge; Sterling Hayden in a Hallmark Hall of Fame, updated TV adaptation, Carol For Another Christmas; and Mr. Magoo’s Christmas Carol, as an animated-musical take on the story.  Now we can add Portland Playhouse, always presenting quality productions, in their spin on the tale.

The story should be familiar to everyone.  An aging, money-lender, Scrooge (Drew Harper), has cut himself off from family, his nephew, Fred (Michael Pfeiffer) and employee, Bob Cratchit (Jeff Painter), and leads a solitary existence.  The ghost of his long-dead partner, Marley (Jen Rowe) informs him, on Christmas Eve, of dire consequences in the hereafter if he doesn’t change his miserly ways.  His one chance is to be visited by three ghosts (Jen Rowe) that will visit him and take him on a journey to his Past, his Present, and his Future, with the hope that he will see the errors of his lifestyle.

In the Past, he sees himself as a boy (Atticus Salmon) and his close relationship with his sister, Fan (Carrie Morgan), who eventually dies in childbirth (with Fred, which is possibly why he shuns his nephew, blaming him for her death).  He also divests himself, as a Young Man (Joshua Weinstein), of his true love, Belle (Danielle Purdy), when he chooses to pursue money as his chosen passion.

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In the Present, he sees the happiness in Fred and his family and friends, and with the Cratchits’, a poor but loving group, with their crippled son, Tiny Tim (Bella Freeman-Moule).  In the future, he views the Cratchits’, sans Master Tim, and how his belongings are literally ripped from his body by the some street people when he dies.  He also looks upon his own neglected grave.  These visions give pause in his ways and he vows to change them for the better.

This is certainly a family-oriented production, although the ghost sections might be a bit too intense for very, young children.  A cast of about 15 enact about 40 plus roles on an essentially bare stage, where the actors often play the set pieces, like the bed curtains and the knocker of Scrooge’s house--quite inventive.  The cast is also multi-talented, as many sing and dance and some play musical instruments.  Only recommendation I would make, is to tone down the shouting and sound/music effects a bit, as it sometimes drowns out the dialogue.

It would be hard to pick out the best, as they all were equally good in the many incarnations they portrayed.  Just to keep straight who was who and doing changes so rapidly, must have been quite a challenge.  Kudos to the director, Miles, for organizing it all so well.  It is quite an enjoyable time.

Harper, as Scrooge, is very accomplished and traditional in his portrayal of an icon of literature.  He is very precise in the many complexities this role must convey.  It would have been nice if they had tried to age him a bit, as far as make-up, but his performance was spot on.  And Rowe, as all the ghosts, including Marley, is quite a feat.  She definitely commands the stage when she is on.

I did like Pfeiffer’s jovial, Fred and Painter’s compassionate, Cratchit.  Purdy was lovely as Belle, as well as Ashley Williams as Mrs. Cratchit.  And Weinstein, in all his roles, stood out.  All the children were quite believable.  And, I must commend my contact with this theatre, Katie Watkins, who plays a mean flute.  To each and every one of them, bless you!

I recommend this show.  And be aware, be a good neighbor, and park in the lot 2 blocks North of the theatre.  If you do go, please tell them Dennis sent you.

the lover—Imago Theatre—SE Portland

“…and, thereby, hangs a tale.”

Famous, absurdist playwright, Harold Pinter’s one-act, will be presented in limited performances at Imago’s space, 17 SE 8^th Ave (just off Burnside), through December 21^st.  It is directed by Jerry Mouawad and produced by Carol Triffle, co-founders of Imago.  For more information, go to their site at www.imagotheatre.com or call 503-231-9581.

The word “absurdist,” to describe a writing genre, might be a bit misleading.  It does not, on the surface, mean farcical or silly but, might be better thought of as, disturbing, or, more specifically, a story taking place in an alternate universe…a state-of-mind world where, literally, anything is possible.  Some of the most well-known authors are Beckett (Waiting For Godot, Endgame), Stoppard (R&G Are Dead, Betrayal), Albee (Tiny Alice, Who’s Afraid of Virginia Woolf?) and, of course, Pinter (The Birthday Party, The Caretaker—presented by Imago in February w/Allen Nause), et. al.

When Beckett was asked, who is “Godot,” his purported reply was, “I forgot.  Who is he to you?”  The reason I go into some detail about this genre, is that I want you to know you are not going to see your typical play, with an easily understandable or explainable plot.  It is not so much about beings with feet of clay, but more about their flights of fancy.  It is “entertainment” but with a purpose…and that purpose is up to you to discover.

On the surface, it is about two people, entrenched in their marriage but, perhaps, at a crossroad.  It seems they may not be “everything” to each other, so they have an open marriage.  They both have other partners occasionally during the week.  Sarah (Anne Sorce) has an afternoon lover and her husband, Richard (Jeffrey Jason Gilpin), has his occasional flings with a whore.  It all seems above board and honest, if not a little eccentric.  But, it seems, that jealousy may be rearing its ugly head into this relationship.  They have spats about the other’s entities, which forces them to question their own self-worth.  A serpent may have invaded their fanciful Eden.

So far, it sounds like a fairly normal story of a couple having marital problems.  But when the lover, Max, appears, it turns out to be Richard, with a somewhat different accent and clothing.  Of course, she must be aware of this duplicity but she appears not to let on.  And, of course, what of him?  Is he aware, or is he simply mad?  Are these games these people play meant to keep their marriage alive?  But, ah, “…thereby hangs a tale.”

At times they seem to telegraph that they’re aware of the proceedings, and just as the plot gets clearer, the game changes.  And the plot may not be there to expose their secrets but for the audience to discover them.  Like a good mystery, the reader/viewer must put the pieces together to figure out the culprit, the ending.  Only, in this case, you won’t know if you’re right or not.  And is this really their house, or are they both mad and incarcerated in an institution to be studied.  By whom?  Us, of course. Then, as an audience, are we not also a part of the game.

My own takes on it, is that it is truly an intense love story, a bizarre one, to be sure, but one in which the lovers will explore any lengths to keep their marriage together.  It is not unlike “…Virginia Woolf?” in which an offspring dies (perhaps), but in order to hold onto sanity, they create a world where he is still alive.  But games can be played only so far, eventually they must end or change.  Who’s afraid of Virginia Woolf?  (reality, perhaps, as Woolf was a stream-of-conscious writer).  The reply, “I am, George, I am.”  This situation seems relevant here, too.

Pinter is very explicit in his script as to pauses and often uses an economy of words.  But explanations are not to be found.  Mouawad has an excellent command of this genre, as he explores, I’m sure, with Pinter’s satisfaction, the depths and possibilities of his script.  And the two actors are quite extraordinary in their performances!  They wring every nuisance and ounce of truth (such as it is) from the material.  As actors, they know exactly what’s going on.  The seemingly random actions are very specific in the actors/director’s mind (and, having been an actor in this genre, myself, it’s true, they do).

It also plays, almost like a ballet at times, with the movements beautifully precise (see Imago’s signature piece, Frogz, too, and you will agree).  And the set is the open playground for them.  I applaud them all for reviving an almost forgotten genre to the public…and doing it so damn well! I recommend this show but, keep in mind, it is adult material.  If you do go, please tell them Dennis sent you.

A WW II Radio Christmas: 1943 Edition—OCT’s Young Professionals Company—NE Portland

"Where Have All the Flowers Gone…”

This production is written by OPB’s Pat Kruis Tellinghusen, based on the Christmas From Home series, originally performed by Tapestry Theatre, and directed by Sharon Mann.  It is enacted by an all teenage cast at Oregon Children’s Theatre’s home base at 1939 NE Sandy Blvd. through December 15^th.  For more information go to www.octc.org.  (It should be noted that the last two seasons, this production sold out its entire run.)

As mentioned, this show is performed entirely by teenagers, people who would have no personal knowledge of the importance of radio in the public’s lives or the impact of WWII on society.  This is also the group that houses Impulse!, an Improv young company that is reigning champion of a contest that was held at the Curious Comedy Club, retiring undefeated, beating out adult teams.  Add this to their accomplishments and you have an amazing company of young people!

The stories you will hear in this hour-long “broadcast,” are taken from actual transcripts, letters and commercials of the time, exhaustingly researched, I’m sure, by the play’s author.  I look forward to future renditions of the Radio Christmas series.  The play moves at a very clipped pace, with many transformation of characters in this cast of seven, well directed by Mann.  And Darcy White as the Musical Director and pianist, is wonderful, as are the costumes, very appropriate for the time, by OCT’s Education Director, Dani Baldwin.  And the Foley (radio sound effects), designed by David Ian, is spot on.

The story consists of a series of skits in a radio studio of the 1940’s.  They do the acting out of various roles, singing, commercials of the day, and even dancing (yes, they did often have a studio audience that would watch the performers).  They sing the traditional melodies of the day including “Boogie, Woogie, Bugle Boy,” “Happy Holidays,” and “I’ll Be Home For Christmas.”  My particular favorites were the haunting, “As Time Goes By” by the emcee (Thom Hilton) and “I’ll be Seeing You,” sung beautifully by Madeleine Delaplane and Lea Zawada.  I’ve seen both of these actresses a few times before in OCT shows, as well as at NWCT, and they never fail to shine in the roles they perform.

Also extremely impressive was Adie Fecker, in a skit as a Japanese teenager, an American citizen, being forced to live In a Internment Camp, simply because of her nationality and the color of her skin.  A shameful day in American history.  The fact that it was okay for Japanese-American citizens to enter the armed forces and die for our country, was acceptable, but to walk around as free Americans wasn’t, is unbelievable that it even made sense to anyone.  Very movingly done by Fecker.

And the romance between Clyde (Jack Levis), an Air Raid Warden and Vivian (Maeve Stier), was both humorous and touching.  And a special note should be taken about the three soldiers (Daniel Martin, Jack Levis & Thom Hilton), on a Japanese-held island, that discover the grave of an American pilot, that had been buried, with all respect and honors, by the enemy.  A true story and a tribute to the humanity in all of us, regardless of beliefs or nationality.  It would have been fitting to have the photo (which the author showed me) of the actual site in the program.  Also mentioned, were the heroic efforts of a young soldier rescuing a fellow mate off a destroyed PT boat.  His name was Kennedy.

The commercials are rendered just as silly and inane as they are now.  Cigarettes, soap, toothpaste, etc. were just as important to the “success” of a person then as they purport to be now.  The whole show is over in a flash, too fast to fully appreciate the stories left to tell.  But what an experience, to have been transported back in time, however briefly. 

And the abilities of this young cast to jump back and forth quickly between characters and song, accents included, is worth the show!  They are even in character when they are simply sitting in the background.  These young actors could rival any adult company I know.

Obviously, I recommend this show but, as noted, it does have a tendency to sell out, so best get your tickets quickly.  If you do go, please tell them Dennis sent you.

The Visit—Post5 Theatre—NE Portland

"Hell Hath No Fury…”

This classic, European drama by Friedrich Durrenmatt is directed by Benjamin Newman and is playing at the Post5 space, 900 NE 81^st Ave. at 7 pm through December 15^th.  For tickets/schedule, go to http://www.brownpapertickets.com/event/509927 or send an e-mail to Nathan Dunkin, npdunkin@hotmail.com for more information.

There was a film of this play made a number of years ago with Ingrid Bergman and Anthony Quinn.  Also the author wrote a screenplay called (I believe) The Odessa File with Jon Voight and Max. Schell, in which the author had a supporting role.  The genesis of the play occurs post-WWII in Germany, when poverty and desolation were rampant.  A savior was needed and, in this case, does appear, but with unexpected results.  The theme might be, “Hell hath no fury like a woman scorned.”

The story takes place in a village called Guellen in Germany.  The presentation of their story is not straight-forward and is akin to Marat/Sade, Cabaret, Shirley Jackson’s, The Lottery, or Ray Bradbury’s, The Summer People and, therein, lies the strength of this vision.  The savior comes in the form of Claire Zachanassian (Jamie M. Rea), a former resident of the town, now a millionairess.  She is willing to save the village by donating a million to it but, on one condition, they must murder someone for her.

The “someone” in question is Alfred Ill (Nathan Dunkin), a much-respected shop-owner, and in the running for the mayor’s seat.  But, it seems he was also a former lover of this lady and spurned her for another (Brian Burger).  She had a child by him, out of wedlock, and when it was brought to trial, Alfred bribed two witnesses (Heidi Hunter and David Bellis-Squires) to swear the she was a loose woman and the child was not his.  Those witnesses have been blinded and castrated by her and now work as the Lady’s minions, as do some thugs from death-row (Leia Young and Erin Morris). 

She was banished from the town and forced into a life of prostitution, until she met and married a rich man (one of several) that made her wealthy.  But revenge is sweet, not just for the meek Alfred, but toward the whole town, who had turned their back on her when she was young.  Now their humaneness, as civilized beings, will be brought into question, as they struggle with this dilemma.  In truth, there are no winners in such a situation, as even the Lady has abandoned her compassion in favor of this misguided justice.

All the town, initially, band with Alfred.  But, it is obvious, they are all suffering and attracted by the need of material items.  The Police Inspector (Jack Wells), the Doctor (Nick Walden Poubion), the Mayor (Brian Allard), the Painter (Tyler Buswell) and even his own family are easily swayed by the promise of wealth.  Only the Priest (Brian Burger) holds some reservations, as he suggests that Alfred must flee.  And the Schoolmaster (Isabella Buckner) has some major struggles with her conscience but warns Alfred that she, too, will probably succumb to being a murderer in the end.

Even Alfred feels resigned to his fate, as the guilt of his former misdeeds has crept up on him.  The songs, such as “Money Makes the World Go Round,” and “These Boots Were Made For Walking” accompanying the actions, also lend credibility to the eventual outcome.  And the dour countenance of the Butler/Narrator (Adam Goldthwaite) and former Chief Justice of the town, hint at nefarious doings at the crossroads.

The success of this production lies mainly with the style in which it is presented by director Newman.  The inclusion of songs, the clown-like antics of some characters, the Greek chorus-like mingling with the crowds, all lend to a type of lunacy that complements the story.  Keep in mind, that tragedy and comedy are both on the same coin, just different sides of it.  And when those lines are blurred, as it is in the staging, you reach deep into the human psyche, revealing the inner-most, and often hidden, Man.

It is obvious that the cast is in complete accord with this vision, as there is nary a sour note in this ensemble in the nearly three hours onstage.  Rea is striking in both appearance and acting in her portrayal of the wronged woman.  Dunkin is equally effective as the complex anti-hero, showing us the sadness and joy of being alive.  Allard is terrific and scary as he portrays, perhaps all too realistically, the machinations of a politician.  Buckner is also good, showing us layers of an individual and, perhaps, the only one with some semblance of a conscience.  And particular attention should be paid to Goldthwaite, as the presentational ringmaster of the proceedings.  He is engaging in all his incarnations.

I hope to see more of Newman’s works in the future.  I recommend this production but it is definitely adult in subject matter.  If you do choose to go, tell them Dennis sent you.

Xmas Unplugged—Artists Rep—SW Portland

Christmas Spirit…The Hard Way

Two one-acts, for your holiday consumption, are presented through December 29^th at their location on SW Alder St. & 16^th Ave.  The first offering is The Reason for the Season by Matt Pelfrey and directed by Rusty Tennant.  The second is The Night Before Christmas by Anthony Neilson and directed by Louanne Moldovan.  For more information, go to www.artistsrep.org or call 503-241-1278.

Remember hanging those wee stockings on the fireplace mantle…and the delicious aroma of gingerbread cooking in the oven…and the gentle tap, tap of reindeer hoofs on the rooftop—well throw all those images out the window, for this Christmas Spirit is of a harsher variety!  It aligns itself closer with Bill Murray’s Scrooged, or if Rambo were playing Santa.  These shows are leaner, meaner and definitely not for the kiddies.

The first story has Deanna (Foss Curtis) and her husband, James (Chris Murray), being poor, trying to create a traditional Christmas atmosphere for their child.  Being out of work, they talk about re-gifting and giving gift certificates to friends, instead of taking the time to shop for something special.  They are so hungry they eat the “magic” cookies (Ed.’s note—in my day, this delectable would have a different meaning then here…or does it?) that have been left out for Santa.   

Neither are in a particularly good mood and, perhaps, a bit tipsy, when they hear the rumblings of someone in their chimney.  Yes, it’s the jolly fat man (Steve Coker) with goodies in his bag for the family.  Only one thing missing…his “magic” cookies have already been eaten.  So, no cookies, no presents, that’s the rule.  So, back up the chimney he goes, or attempts to.  The couple has other plans for him.

They attempt sweet talk, sad stories and even argue with The Man to leave them something for their child, at least.  But, when all that fails to win his support, they resort to the basics—violence.  A comic battle ensues.  For the next several minutes they go at it hand and hoof…er, foot.  I won’t give away the climax, but let’s just say that the color red takes on a whole different meaning this Christmas.

The set (for both shows) by Wilkerson is terrific.  They are given the semblance of the settings for the stories and also allow plenty of playing room for the actors.  And director, Tennant, has one super fight scene that is both inventive and must be exhausting, for the actors, but is quite effective.  Also the music/sound (for both shows) by Rodolfo Ortega^ seems quite appropriate for the given circumstances.

And the couple are nicely played by Curtis and Murray and the comic timing by all three is spot on.  Curtis being particularly effective in her monologues, which are both comic and sad at the same time.  Well done.  And Coker, as a very practical, no-nonsense Santa, is outstanding.  His down-to-earth view of the world is strangely refreshing and his desire for the “magic” cookies, oddly familiar.  Top-rate, Kris K.!

The second show, story-wise, is a better script, as it allows for more development of the characters.  This is set in a warehouse in England.  Simon (Steve Coker) and Gary (Chris Murray) run some sort of shady operation out of their warehouse, probably dealing with stolen goods, drugs and prostitution.  At the opening of the story, it seems that Gary has captured a burglar, who turns out to be one of Santa’s elves (Jill Westerby) that has fallen off the sleigh.  (Yeah, another Christmas, mythical character reduced to an earthly level).

Being that the elf can tell no lies, they discover some of the secrets of these Northern inhabitants.  It seems that the Christmas Spirit is actually a powder that is blown into the air at this time of year.  Children are affected the most, as they have not lost their innocence.  But, with adults, it has little effect.  Unfortunately the “powder” is addictive, if you’re around it all the time, so elves are particularly vulnerable, and withdrawal is not a pretty sight.  (See any resemblance to the “magic” cookies of the previous show)? 

And the reason they can do everything in one night, is because they live at a slower rate of speed and, thus, can zip into and out of our time without being detected.  Into this merry, madcap mix-up enters Cherry (Luisa Sermol) one of the gang’s “employee’s.”  They all decide that, for the elf to be released, he must prove his magical abilities.  He agrees to grant each of them one wish.  I don’t want to reveal much more of the plot but, suffice to say, magic might just be in “the eye of the beholder.”  And the last wish has quite an unselfish and touching result.

Moldovan has kept the play sailing at a good clip and keeps the actors on the move, as it is a bit of a talky show.  The only comment I would add to that, is that the accents are so thick at times, they become unintelligible.  And a Brit friend of mine mentioned that both the Elf and Simon seemed to have the best command of their dialects and were the clearest in speech.

Again, Coker is exceptional.  He gives us a man that has a brittle exterior but seems to have a marshmallow heart.  A sensitive performance.  Hopefully we will not be seeing the last of this actor.  And Westerby is dynamite.  You totally believe her as a rather homely, awkward, misfit, male elf and is, in reality, a very attractive, young lady.  That why they call it…“acting.”  A super performance also!

I do recommend these shows but they are adult in language and in subject.  If you do go, please tell them Dennis sent you.

American Fiesta—Triangle Productions—NE Portland

Colors of a Rainbow

This is the NW Premiere of this show by Steve Tomlinson and directed and designed by Don Horn (Triangle’s co-founder and Managing Director).  It is a one-man show starring Gary Wayne Cash and plays at Triangle’s space at 1785 NE Sandy Blvd.  The wonderful collection of Fiesta-wear is donated from the estate of Joan Hayward.  For more information go to www.tripro.org or call 503-239-5919.  And if you have any of the Fiesta collection, I’m sure Don would appreciate seeing photos of them.

The Fiesta collection of dish-wear was begun by Homer Laughlin back East, during the depression of the 1930’s.  He felt that people needed a little color in their drab lives during this period of time.  Also one could buy a piece of one type and another piece of another color or style and it would all fit together.  No more the expense of having to buy complete sets of matching dishes. 

The vibrant colors might evoke visions of a lovely rainbow, a jumbled kaleidoscope or the terror-warning alert ladder.  It’s all there, just depends on your perspective.  Interpretation is in “the eye of the beholder.”  Kind of like life, isn’t it?  And, maybe, that’s part of the point of the play.  Colorful, solid, reliable, individualistic, durable—a bit of Americana rolled into one. A reflection of the Past attempting to fuse onto the Future, voicing the need for both.

The tale follows the story of Steven based, I’m sure, on much of the author’s life.  He tells of his childhood in Oklahoma with the typical father/mother of the times.  The father, ruler of the roost….the mother, following behind as best she can.  And the son, sensing he’s different…discovering he’s gay.  Eventually finding a lover, a partner, a mate in Leon and wanting to get married.  But, at the time, only Canada, in North America, would recognize such a union.

How to bridge the gap between traditional values he grew up with and the offerings of this New World.  A solution might lie in the durability of Fiesta-wear, a span between generations.  His mother and grand-mother had such pieces and now he has a fascination with the same such models of a by-gone era.  It may not solve the problem but, at least, its common ground.  And, on such a level playing field, dialogue might begin.  And, how does such a journey start, as Vonnegut would say, “just put one foot in front of the other….”

There are other issues at stake here, too, such as the rights of a person’s partner to make decisions if the other partner is unable to, equal rights in job opportunities and education, et. al.  And, a lesson he learns at a convention of Fiesta-wear collectors is that nobody is perfect.  A blind lady has a near-complete collection of this table-wear.  But he informs her that many of the pieces have cracks and chips in them.  To her, these are not flaws but reflect individual, personal passions/traumas of the moment that caused them.  We all are like that…different colors & sizes, damaged, but all part of the same world, so its best that we try to get along.

Cash not only plays the main character, but voices others as well, including Leon, his parents, collectors and shop-owners, etc.  It is a 90 minute monologue and very well done.  This role could have been over-acted and the alternate characters been larger.  But Cash does the unusual and underplays the role, pulling his characters closer to his breast.  This method gives more of a personal feel for the character from the audience’s perspective.  As if he were just sitting across from you and telling stories of his life, much like Bill Cosby use to do.  More like a storyteller than our traditional view of an actor on stage.  It is very effective.

The collection of fiesta-wear is quite amazing and, I’m sure, Don would have no trouble telling you about it.  And his direction of the play, as always, seems to blend his own views onto the subject and vice versa, so that you get a very personal look into life and art, not an easy marriage to conceive because it makes the artist vulnerable.  It is a brave thing to do but, after repeated exposure to his plays, it is a satisfying one, from my humble opinion.  A celebration…a fiesta of life that speaks to all of us.

I recommend this play.  If you do choose to see it, please tell them Dennis sent you.

Meet Me In St. Louis—Gallery Theater—McMinnville, OR

Skipping Back In Time

This classic musical is based on the film by the same name, written by Hugh Martin, Ralph Blane and Hugh Wheeler which, in turn, is based on “The Kensington Stories” by Sally Benson.  It is directed by Elizabeth Pullen and Ken Moore, choreography by Stephanie Belt-Verhoef and piano accompaniment by Brynn Hurdus.  It is playing at their location at 210 NE Ford St. in McMinnville through December 14^th.  For further information, go to www.gallerytheater.org.

This play is based on the terrific MGM musical directed by Vincent Minnelli (Liza’s father) and starring Judy Garland and Margeret O’Brien.  It has some now known standard songs such as, “Skip to the Lou,” “Under the Bamboo Tree,” the “Trolley Song,” “The First Noel,” “Have Yourself a Merry Little Christmas,” and, of course, the title song.  It is the story of the Smith family of Missouri from about the summer of 1903 through the Spring of 1904, the World’s Fair.

The Gallery Theater is a community-oriented theatre for 45 years in a close-knit town, so it seems fitting that this play, with old-fashioned family values, should be presented here.  One can wax-nostalgic as this mid-west family takes us on a brief tour of what life was like without cell phones, cable TV, computers, smog, gangs and jets.  Instead, there was ice-cream socials, bandstands, trolleys, soda fountains, community dances and actual one-on-one human contact with each other.  Forced to choose between the two, I opt for the latter.

The story follows the adventures of the Smith family.  The parents are Alonzo (Dave Ferry) and his wife, Anna (Kelly Ashton).  The two oldest sibs are Rose (Jamie Corff), looking for a possible beau in Warren (Justin Jenks) and Lon (Caleb Janzen), going off to college at Princeton.  Esther (Jordan Ferry) is in high school but find her possible mate in the boy-next-door, John (Ethan Keleher).  Agnes (Makayla Norwood) is still in grammar school, and the youngest, and most impish, is Tootie (Zoe Corff).  To round out the household is the somewhat eccentric Grandpa (Don Myatt) and the outspoken, Irish maid, Katie (Alice Darnton).

The family has its ups and downs but there is obviously a lot of love encompassing this clan.  It follows seasonally their lives through Independence Day, Halloween, Thanksgiving, Christmas and, finally, the World’s Fair of 1904.  It peeks in on the flirtations of Esther and John, the long-distant romance, of Rose and Warren, the eccentricities of the non-conforming Grandfather and the devilish escapades of Tootie and Agnes.  But the major stumbling block the family encounters during this period, is the fact that the father has been offered a promotion in the firm but they will be forced to move to New York City and, probably, a more progressive lifestyle for all of them.

But, like such classics of the time, such as, I Remember Mama, Life With Father and The Music Man, there was no real mystery of how things would turn out.  The tried-and-true ways of love and family will prevail and happily-ever-after is still in vogue as an ending.  Everlasting is truly…everlasting.

Both Dave Ferry and Ashton as the parents are in fine voice and convincing.  Janzen, as the affable son, has an easy manner in his songs and dancing.  As the youngest members of the tribe, Norwood and Zoe Corff are appropriately impish in their performances.  And there is a nice, comic turn by Colton Price as he plays three misfit schoolboys, one after another.  And Kira Weaver is a fine dancer and singer and shines in the chorus.

The standouts for me, though, were Jamie Corff as Rose.  She is an attractive, young lady and handles both singing and acting chores with confidence.  Darnton, as the feisty maid, added brashness and charm to the proceedings and is also in good voice.  And Hurdus, as the pianist, is amazing, tackling this difficult score by herself.

It’s refreshing to see actual teenagers play the roles of Esther (Jordan Ferry) and John (Keleher).  The awkwardness and angst of those teen years shows through.  But, also, as young performers, the inexperience shows through at time, too. Ferry is a bit unsure of herself sometimes but has the look and feel for the role.  But, Keleher, in particular, seems stiff and, at times, and speaks in monotones, as he portrays his character.  But with such a supportive group in this theatre, I’m sure they will both blossom as performers in years to come.

And the costumes by Antonia Osterhout are outstanding.  The vibrant colors and styles of the period are beautifully represented here.  The set design by Moore is amazing and has a terrific trolley in a key scene.  The World’s Fair skyline is a wonderful ending to the show.  One would think we are indeed transported back in time (reserve a space for me).  The direction by Moore and Pullen fits this group nicely, giving us the warmth of the era, and, obviously, reflected by the love of it from the cast.

I would recommend this show, especially as a gift for the whole family, during this holiday period.  And may we all find that lazy pace and “…Huckleberry friend…” within this modern age.  If you do go, please tell them Dennis sent you.