A Christmas Carol to Sing About

By A. Sic

Disneyland might be able to pull off the the same schtick night after night but come on; what does a heartless old fool like Ebenezer Scrooge have on Mickey Mouse and some kick ass Fireworks? Celebrating it's 30th year at the Goodman Theatre you would think enough is enough already. This might ring true if the show was performed the same year after year but we can all thank the ghosts of Christmas that it's not.

Now, no secrets here. I would be lying if i said i understood the whole Christmas thing. Truth is, I'm Jewish, a good reason to be skeptical about a "Christmas play". Heck, my school made me see it when i was little. Been there done that. Suddenly i felt like a little Jewish Scrooge entering the Goodman. But from the moment i sat in my seat and looked at the stage to see houses covered in snow and then back out into the auditorium to see all the families pouring in, together, to see this play, something clicked.

Second time director William Brown has gone one step further this anniversary by heightening the spook of the tale. Not only does this make our hearts beat faster but it brings the story closer than ever to its original folklorish root. A fable littered with ghosts and death isn't meant to be sugar-coated and Brown understands this completely. But please don't get me wrong, it is no haunted house either. There is much holiday cheer, candy coated magic, and hysterical antics taking place throughout the play. Just like a kid tearing through presents on Christmas day, this is is the place to be.

It is said that casting is half the battle and one Brown not only conquered but destroyed. Larry Yando is perfectly disgruntled as the penny-pinching, petulant Scrooge. The adventure he is forced into transforms the fellow completely and Larry is present in every moment of Scrooge's self-examination. By the finale Ebenezer Scrooge is a changed man and Larry is too. A touching, honest, and heartfelt performance. I know that sounds corn dog but it is true and i mean it in the most sincere way.

All around the actors are brilliant, thus making every show a new journey. They play with each other onstage and are obviously having fun doing so making it a joy to watch. The best example of this was during a dance number between Mr. Fezziwig played by the jovial Bradley Mott and the hilarious Sharon Sachs. They shared a laugh in character and the audience got in on it too. There is wonderful give and take demonstrated by all the actors throughout the performance.

The show moves along well, musically it is pleasant to the ears, everyone appears to sing well, and visually it is candy canes and gum drops for the eyes!

Props to the set designers. This is spectacle without rubbing it in our faces. Why? Because it is done right. From flying ghosts and creepy fog to winter snow on a clear starry night, the design was gorgeous. Every interior landscape that moved on and off stage with ease was detailed down to the dust and golden gates appeared only to be replaced by the busy downtown streets within seconds. This is the craftsmanship of pros people.

A Christmas Carol is not just about Christmas as the name mis-states. It is about tradition of all kinds. It's about the warmth winter can bring. It's about family, friends, and having an open heart to share with others. From fear to tears to holiday cheer, the journey explored throughout this tall tale is incredible and timeless. And this 30th anniversary production certainly marks it as the best of all time. After all, it even made me, a small town Jewish girl, love Christmas!

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Negron’s “Satellites” – Heartfelt, Funny and Giving

By Joanne Newmark

When Taylor Negron took the microphone after violinist Lili Haydn completed her first song, I wasn’t sure what to expect. Having never seen the actor/writer/comedian perform before, I was curious about the concept of his latest show, which I heard was dramatic/humorous storytelling coupled with the accompaniment of a soft jazz trio.

The stage setting invited comfort, complete with a lamp atop a night table to Taylor’s left – the perfect environment for an evening of heartfelt tales. As Taylor spoke I found myself being drawn in as though he were a magnet and I, a scrap of metal. Taylor’s first of four short stories, was a more dramatic, or traumatic, piece that dealt with a sexually abused childhood friend. His ability to convey this painful memory was so powerful, I can only imagine compassion was pouring in from each and every seat in the theater. Yet, as devastatingly disturbing as some topics Taylor touched upon, his uproarious delivery found in other subject matter was just as impressive. After all, these short stories were based on his own life’s experiences, which contain the tragic, the unusual and the downright hilarious.

Taylor’s second story exposed a sad, but also endearing and funny, side of Lucille Ball, his former acting teacher. Though his words alone were entertaining enough, it was his precise animation of Lucille’s expressions that really brought the account to life and brought the house down.

Lili Haydn fronted the jazz trio as they played mood-enhancing songs between stories and added background music to Taylor’s words, augmenting each piece to its fullest. But make no mistake about it, it was Taylor’s raw talent as an entertainer that made “Satellites” the memorable experience that it certainly was.

The entire show was entrancing. I found myself teary-eyed one minute and laughing vigorously the next. Taylor has mastered the art of entertaining, manipulating emotions, and extending his innermost experiences to the masses and I for one, am thankful as his show is a true gift from the heart.

Gentle sarcasm and just the right amount of tenacity in a situation that usually requires major freak out, paved the way for Taylor’s third bit about an unsuspecting burglar who broke into his home not expecting the entertainer to make an early return. In this humorous account, the tables are turned thanks to a flurry of Taylor-given slaps and hand-delivered demoralization, making the burglar relieved when the cops were finally called.

Taylor finished the evening’s stories with a comical piece taking place in New Orleans before Lili played the show’s soulful finale, “Satellites”. As I sat in my chair following the exodus of performers from the stage, I felt invigorated, empathetic and full of levity - all at the same time. Not a show I have seen before has invoked such a roller coaster of emotions.

“Satellites” is a well-crafted, provocative, think piece, loaded with laughs, passion and heart.

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