I’ve become quite a Boston Gay Men’s Chorus fan.  Sometimes, I wonder if there is anything original I can say after having the pleasure of viewing one of their performances.  The music, always carefully selected or painstakingly created by Music Director Reuben M. Reynolds and Assistant Music Director Chad Weirick, is always beautifully and passionately sung, the special guests that perform with the group always highlight their talent without overshadowing the group’s unique beauty, and the dance numbers are always a celebration of abandoning of all self-consciousness. But part of the, dare-I-say it, fierceness, of the BGMC, is their ability to reinvent themselves time and again, creating something completely new and original while holding tight to their long-standing tradition of moving music for social change.

This holiday concert was no exception.  Joy! was certainly that.  This concert had a more subdued tone to it than concerts of the past, including many traditional carols, from Gwyneth Walker’s “Rejoice” cycle to Jackson Berkey’s “Aniversary Carols”, a selection of classic holiday songs re-set as a yearly anniversary gift for his bride.  The chorus was at it’s best here, meticulously blending their voices with expert subtlety.  Soloist J. Jacob Krause’s romantic baritone in “Still, Still Night” was incredibly memorable, as was the light-hearted tribute to our Jewish friends, “Shalom Santa” sung with gusto by tenor, Peter Crosby.   My personal favorite song of the night was the beautifully melodic L’Dor Vador arranged by Chris Hardin and Chad Weirick.    This concert’s phenomenal guest performance was by the Majestic Brass Quintet.  The quintet’s clear and resonant sound was a perfectly classic harbinger of Christmas and left an electric ripple of joy throughout Jordan Hall.

I had the extreme privilege of attending a small, private engagement after the performance, in the beautiful South Boston home of one of chorus’ most esteemed gentlemen.  I had a moment to speak with Mr. Reynolds about the choir, it’s mission,  and about the unparalleled signing of sign language interpreter, LeWana Clark.  When I questioned the choice of having American Sign Language included in a vocal concert, Mr. Reynold’s told me a unforgettable story about the long-standing history of the chorus, and how sign language was added to the performances when the AIDS epidemic was at its peak, to reach out to members of the gay community who had had their hearing taken from them by the disease.  The sign language interpretation continues to this day as a tribute to the fallen members of the community and as a celebration of the inclusive and healing capabilities of music.  I was extremely touched and grateful to have been given a small peak into the past, and I wanted very much to share with you all what I learned.

The BGMC has recorded Joy! and is in the process of producing the music as the chorus’ next holiday album.  You can contribute a small donation to be listed as a producer for the album here.  I am so glad this unforgettable concert will be available to listen to again and again.

When you have had just about all the tinsel, eggnog, and crowded malls that you can possibly handle, Speakeasy Stage Company’s Striking 12 is like a deep breath of fresh air to clear your lungs of all the chestnuts and winter berry.  Now don’t get me wrong, there’s nothing wrong with holiday shows that come around every year.  The Nutcrackers and Christmas Carols of the world are long-loved staples that we would all miss terribly if they were gone, but there comes a time when even the most antediluvian of all of us are aching for a fresh perspective.  With a multi-talented cast of three, a simple set in an intimate space, and a rock/country fusion score, Striking 12 has almost nothing in common with the “traditional” holiday offerings.

Set just after the Christmas holiday, New Years Eve, in fact, Striking 12 tells the story of an ordinary “Bostonian” who has absolutely no inspiration to participate in the usual end-of-the-year festivities thanks to a demanding job, a gaggle of self-involved friends, and a very outspoken ex-fiance. He comes to terms with the great fortunes of his life with the help of an unexpected visitor that is not in the form of a ghost or grim reaper- how refreshing this time of the year!  The three person cast, who also play their own instruments, embody a variety of roles in addition to their “main” characters as a story unfolds which loosely follows Hans Christian Anderson’s The Little Match Girl.

Striking 12 was originally developed by a New-York-based Rock/Country/Jazz trio called GrooveLily, and Boston’s inspired collaboration of José Delgado on keyboard, Zacary Hardy on drums and Erikka Walsh on violin were a formidable tribute to the creators.  Delgado used the keyboard with effortless ease and his voice was every bit as wonderful as his playing.  He was quick and funny with excellent projection.  Hardy completely captured the satirical nature of Groovelily’s drummer, Gene Lewin, in his portrayal of the role; in fact at times his voice was almost identical to Lewin’s, but rather than just mimic the drummer, Hardy adds his own wit and nuance- and absolutely ridiculous drumming.  Walsh is a force to be reckoned with on the violin.  Not just an instrument, Walsh actually uses the violin as an extension of her own voice and her own body.  Her vocal acting, especially during “The Sales Pitch” was the highlight of the performance, and more than made up for her occasional pitchy-ness in some of the more delicate vocal sections of her part (most notably during her moments singing as the little match girl).  I have never seen anyone play the violin so expressively and so passionately before- and she did it all in absolutely fabulous stiletto heels (you didn’t think I could review on “out and about in town” night without mentioning those fierce shoes, did you?) The cast had great chemistry, and, I can confidently say, more overall talent than I am used to seeing in such an intimate space.  I loved being able to watch three musicians perform such exciting and “modern” music without being distracted by people screaming or throwing themselves against the stage, though frankly I am surprised no one tried to- they were that good.

The technical aspects of the show were no show stoppers, to be sure, but they ran smoothly and added to the overall professional quality of the production.  Victoria S. Coady’s stage management should be complimented for making everything look so easy-breezy.  Scott Sinclair made his Speakeasy directorial debut with this show, and he should be commended.  What a wonderfully unique and special piece to have had the opportunity to bring to the Boston community.  Sinclair, an Emerson alum (represent!) has a bright future ahead of him if he continues to collaborate on shows as clever and exciting as Striking 12.  Your holiday season will be just a little bit brighter if you take a moment to see this show.

Merry Christmas from Boston Theatre Review!

Erikka Walsh and José Delgado in a scene from the SpeakEasy Stage Company production of STRIKING 12
Photo: Craig Bailey/Perspective Photo.

At the Reagle Music Players, Christmas spirit is pervasive.  From the moment you enter the lobby, the high school auditorium is transformed into an elegant, whimsical place, with Victorian carolers and classic decorations.  Once the performance begins, there is a non-stop flow of entertainment.  To prevent the action from stagnating, Robert Eagle has conceived the production in a fashion that each number is performed in a different setting.  This is no small feat, considering the show features dozens of songs, including many Christmas staples, as well as some lesser known gems.  The constant movement of actors large and small, as well as assorted set pieces is a testament to the technical prowess of all involved.  From the thousands of costume pieces to Robert Moody’s gorgeous backdrops, clearly Reagle has a talented set of techies involved from every angle.  The colossal scope of the production is rarely found at the community level, with production value comparable to high-end equity performances.

Equally impressive is the talent of the enormous cast, with kids from 1 to 92 (well, almost). The production includes children and adults from all age groups.  The youthful performers are adorable, yet have clearly been trained to maintain professionalism beyond their years.  The young dancers, as school girls, Santas-in-Training and Raggedy Ann and Andy dolls combine energy, style, and skill in each number.  The adult Precision dancers are polished and (as the name might suggest) precise.  These lovely leggy ladies are as graceful and poised as any Rockette.  The simplicity of the March wooden soldiers clearly appeals to all ages, as each audience member holds their breath while the soldiers slowly fall like dominos.

The adult choir draws from various communities in the area, and each and every member of the ensemble brought something to the table.  In particular, Reagle’s interpretation of a Victorian Christmas was an absolute highlight.  This was an opportunity to peek into Charles Dickens’s Christmas, minus the sorrow and suffering.  Through a cacophony of solos and group performances, the joy of the birth of Christ is celebrated.  Stand-out soloist Jean-Alfred Chavier’s deep “God Rest Ye Merry Gentlemen” is countered by Greta DiGiorgio’s “First Noel” captures the timeless beauty of the message of Christmas that all too often gets lost in the contemporary commercialized holiday.  Broadway star Sarah Pfisterer is poised, elegant and graceful, and her powerful voice fills the space.

The culmination of the production is the nativity scene.  This iconic scene is accurately portrayed through the technical savvy of the company.  The use of scrims and lighting techniques present a flawless tableaux.  This imagery emphasizes the simple magnificence of the Nativity story, enhanced through the song of Pfisterer and the choir.  I can think of no more appropriate, or breathtaking, a finale for this Christmas show.

Reagle Music Theatre’s “It’s Christmas Time” is an example of community theatre done right.  Not only does the production capture the spirit of the season, but it also captures the spirit of the theatre  itself.  Through this show, the magic of theatre is opened to audiences and performers alike that may not have the opportunity to experience a production on this scale, especially so close to home.  To witness the sheer joy on each performer’s face is to be reminded of the value of the theatre, not only to the individual, but the community as a whole.  Drop everything and see “It’s Christmas Time”- it is nothing short of spectacular (take that RCMH).

Remaining performances are Friday December 10 at 7:30 pm, Saturday December 11 and Sunday December 12 at 1 pm and 5 pm.  Robinson Theatre, 617 Lexington St, Waltham.  For ticket information call the Box Office at 781-891-5600 or visit www.reaglemusictheatre.org.  Students- Check out the student rush discount too!

Gentle. Playful. Warm.  An enveloping feeling of welcome that is effervescent and buzzing with life.  The lasting, echoing flavor of a very good memory.  An evening with The Boston Gay Men’s Chorus is more than just your standard choral event.  Each song is lovingly selected at the hands of a dedicated conductor and music director, rehearsed and molded under the tutelage of a brilliant team of artists and musicians with the common goal to peak in perfection during performance time.  What is so inspiring to me about the BGMC is their ability to move an audience through a journey of emotions without ever feeling preachy or self-important.

This year’s holiday concert, Our Home For The Holidays is a wonderful collection of music that spans centuries and continents to evoke a most colorful aural display.  As with many other BGMC holiday concerts, two very distinct portions of the show equally delight and captivate the audience.  For the ease of this review, we’ll call them the “traditions” portion of the show, and the portion of the show that my companion so aptly referred to as, “a feast for the eyes”.

During the “traditions” portion of the concert, the audience was embraced by a few classic John Rutter carols, and then a trio of Rachmaninoff songs.  My heart almost burst when the chorus started the first few notes of “Rejoice, O Virgin”, a personal favorite of mine.  I have never heard it sung in an all male arrangement and it was every bit as beautiful as I imagined it would be.  After Conrad Susa’s “A Christmas Garland” which offered a lovely and delicate trio, and a brief intermission, the chorus reassembled and welcomed Kerry Dowling to the stage.  I have extolled my love for Dowling before (Hi, I love you!) but to hear her perform Fred Small’s “Not In Our Town” (arranged by Kevin Robison) was a once-in-a-lifetime opportunity.  With the chorus behind her in perfect harmony, Dowling’s cogent voice endowed the audience with an extremely harrowing tale of a community coming together to take a stand against anti-Semitism, focusing on the experience of a young Jewish boy and his family.  I was absolutely a mess of tears.  It was remarkably moving and powerful, not just because of Dowling’s vocal prowess, but because the chorus itself underscored her with such resolute enthusiasm.  It is a piece I will not forget for a long time.

Upon the heels of such a moving moment, the “feast for the eyes” portion of the concert breathed a buoyant holiday humor into the room without circumventing the touching music which came before it.  The BGMC never lets me down during the second half of their holiday concert!  This year, the dance team, dressed as elves, led the chorus in a brilliant, original Kevin Robinson medley, charmingly titled “The Elves’ Broadway Christmas”.  Show tune favorites were mixed with classic Christmas lyrics to produce a completely hysterical tribute that any friend of Dorothy (and friend of friend of Dorothy) would be completely tickled by.  I especially loved the Phantom of The Opera and Les Miserables references.  Dowling took to the stage again as Mrs. Claus to help end the night with a bang during “Christmas Samba” where the band of merry elves in Mariachi outfits shook their bottoms across the stage and danced around Dowling in a two foot tall frosted fruit hat!  She had the audience in tears again for the night, only this time time they were tears of joy.  What a fabulous way to celebrate this holiday season!

The BGMC continues to bring inventive holiday concerts year after year- I was shocked to discover that this was my fifth holiday concert and I have adored each and every one.  I never tire of their devotion to the audience- not only during performance, but throughout the year in their support through various outreach programs.  BGMC is unquestionably my choice for yearly donations, and I think it should be yours too.  I’ve decided to provide the link to their contribution area because I’m that serious about it.  Bravo again, friends, and Feliz Navidad!

Oh boy I do love Christmas- and even if I didn’t, I sure would have to pretend I did, with the holiday mere days away!   There are so many reasons to be merry, and so many joyful events to be a part of.  With a holiday party around every corner, a holiday show in every playhouse, and a holiday song on every radio station, it is all but impossible to escape the onslaught of “cheer”, even if you wanted to.  It is in the spirit of the forced merriment of the holidays that we all can take delight in The New Repertory Theatre’s production of David Sedaris’ The Santaland Diaries.  The Santaland Diaries is not unlike A Christmas Carol, where one, world-weary traveler finds new meaning in his life thanks to some unique characters and special circumstances. Only this more modern adaptation of a Christmas journey comes with just a pinch more “bite”.

The firecracker of a one-man-show stars Gary Littman as “Crumpet”, the incarnation of the playwright transformed into an Elf  in New York City’s Macys department store.  The Santaland Diaries plays like a 90 minute dramatic diary, taking the audience through vignettes from the fateful day Sedaris applies for the position found in the Sunday New York Times (it was a dare) through the interview, training, naming (Crumpet!), and actual daily shifts as one of Macy’s elves.  Litmann is charming.  He boldly captures the wit and charm of the original short story, making the audience laugh, cringe, and even, by the end, get a little misty-eyed.  From opening monologue to trippy solo dance number, Litmann’s delivery is spot on.  Director, Christopher Webb should be commended for guiding and shaping an excellent adaptation to what is becoming a holiday classic “for the rest of us”.

The simple yet compelling scenic design (complete with  a clever and terrifying backdrop) was a stroke of genius for Cristina Todesco and was complimented perfectly by Chris Fournier’s thoughtful light design.  The biggest laugh of the night, though, must go to Molly Trainer, whose costume design was the perfect exclamation point to Littman’s sardonic treatment.

This fun show is a great way to share your holiday spirit- or lack thereof, with friends and loved ones this holiday season.

Gary Littman as “Crumpet”

When Christmas parties, yankee swaps, secret santas, maxed out credit cards, boxes, tissue, ribbon and wrapping paper have taken hold of your life, attending a third or fourth holiday performance can seem like a chore.  Even after a Christmas show on Friday, and a family Christmas party on Sunday, the Jose Mateo Ballet Theatre’s production of The Nutcracker was hardly a chore.  While there was talent and excellence in many aspects of this ballet, what was most delectating was that it was primarily a performance of study.  The Core De Ballet was composed entirely of students.  The Ballet Theatre is the only professional production of The Nutcracker in the area that holds open auditions for students outside its own school.  Casting rotations of 200+ Children ages 6-18 hailing from Massachusetts and New Hampshire resonates as a true commitment to ballet education.

This integration of students from different studios may be the explanation for the lack of cohesion in the execution of the choreography.  On the note of execution, there seemed to be a lack of commitment in the performing the steps. Ching Hosier, a former ballet instructor at the Hartt School of Music, would say that the energy should start at the center and radiate through and beyond the ends of the extremities.  While the dancing was quite lovely, it seemed at times as though the energy was cut short at the knees and elbows.  There were times when some dancers almost appeared to be marking it.

Most impressive, however, was Nicole Finken in the role of Clara.  Her arms moved with a grace and delicacy beyond her years.  Finken filled the role sur les pointes, the untraditional choice, however, executed excellently.  Madeleine Bonn and August Pozgay took the Coffee/Arabian Divertissement, one I have never really enjoyed, and created something captivating.  Bonn was also quite brilliant, both in color and dance, in the Waltz of the Flowers. Despite some trouble with his tour en l’aire, Henoch Spinola performed strappingly as the Cavalier. Spinola also demonstrated fine coupé jetté en tourment manàges.  Spinola, most importantly, truly filled the primary job of the Cavalier; showcasing Sugar Plum Fairy, Elisabeth Sherer, who danced the role decorously.  Gloria Benedikt performed dulcetly as the snow queen and Jacob Hoover was a technician in his grande pirouette à las seconde as both Harlequin and the Russian in the Trepek/Russia Divertissement.   A special tip of the hat must go to the mice.  I was tickled to death by the pot bellied little rodents frisking about.

The stand out performer of the evening was Jose Mateo himself.  Mateo did indeed perform in the role of Drosselmeyer, yet what stood out more was his choreography.  Notwithstanding minor problems in execution, the movement of this piece was beautiful and engaging.  By employing sequences of layered combinations, as in the Waltz of the Flowers, like harmonious counter melodies, each stratum of steps complemented but never detracted from the others.  The only critique being offered by way of the choreography would be that at times, though inspiring and innovative, the it did not suit the strengths and abilities of some of the dancers.  Quite pleasing was the choreography for Coffee/Arabia.  Too often it seems as though this divertissement is choreographed like the fashion at H & M.  It’s almost always as though someone had taken some choreography from the women’s section of the store, and simply put it on a man.  I’ve seen many men work hard to bring masculinity to such choreography. Mateo, however, confounded this expectation.  He appeared to have designed this piece with a man in mind.

The Jose Mateo Ballet Theatre’s Production of The Nutcracker was terrific. Mateo’s choreography combined with the work of some wonderful dancers brings to life this holiday tradition.  The inclusion of many students of many levels of experience presented a sort of “progression of man” of ballet education; an inspiring image.  I will certainly be keeping my eye on the upcoming season of the Jose Mateo Ballet Theatre.  If this piece is in any way a representation of the company caliber, there are great things to come.

Clara (Nicole Finken) receives her beloved gift.

Reminiscence and nostalgia are the catch phrases of Watertown Children’s Theatre,  New Repertory Theatre, and arsenalArts production of Charles Dickens’ A Christmas Carol.  Set in the eves of an attic with miscellaneous artifacts affixed to the wall, the snow-drifted stage gives the cozy but cold air of Charles Dickens’ mystical tale.  The set suggests memory and the past with a nice mix of suggestive and literal.  Without creating caricatures of the characters of this already supernatural tale, director, Bridget Kathleen O’Leary and adapter Rick Lombardo brought a touch of class to this classic.  A work like Charles Dickens’ A Christmas Carol can feel a bit recycled, reduced, and reused.  By presenting it less in the light of a fairy tale and more so based in reality, this reviewer was quite entertained with out a display of déjà-view.  Lombardo’s adaptation was refreshing in his choice to include shadows of past, present, and yet to come that are often cut for the sake of time. These brief but poignant scenes are not lost in Lombardo’s manifestation of Dickens’ masterpiece and they further articulate the moral of the story, while maintaining a reasonable running time.

As the audience milled about the gallery of art that is the lobby at the Arsenal Center for the Arts in Watertown, a chorale concert of Christmas carols purveyed the space.  This interruption of illusion, despite my initial resistance to seeing performers in costume and character prior to the curtain, set a specific tone for the performance about to take place.  Once the audience was seated, and house lights were lowered, the frosty fable began.

The ensemble seemed to be the crux of the show, filling multiple of the many roles.  Singing baroque style Christmas tunes, the ensemble moved as one to create a mood and make the scene changes.  Most impressive was the musical talent of these players.  I use the word players to imply a pun, for not only did these artists sing and act, but many of them showed proficiency in playing piccolo, piano, timpani, flute, violin, chimes, tin whistle, etc.   Most impressive was Katrina Shinay.  Scenes were often set due to ethereal tones of her tessitura; floating gently above the action of the scene on soprano pitches with control and finesse at pianissimo.  Shinay tickled the audience by singing a flat final note, until corrected by her accompanist.  Patrick Ryan as Fred was also joy.  Ryan filled the role with such sincerity that his age disparity was almost forgotten.

I will say that there were inconsistencies in dialects used and the usage of them at all.  I am of the philosophy that if one can’t master the dialect well, it is best not to affect one.  This was most prominent in the performance of Edward M. Barker.  Barker’s depiction of Bob Cratchet came off a mite over the top, although I believe this was an effect of the deviations in Barker’s dialect.

The stand out performer of the evening was Paul D. Farwell.  Farwell played the protagonist with nuance that down played the emotional extremes of Scrooge.  Through such down playing of the epic role, Farwell concentrated the evocative power of the Scrooge’s journey toward emotional maturity, making each potent moment of progression more prevalent.  Farwell’s performance is one that negates the audience’s world, and becomes their reality for the duration of the play.

The 5^th Annual Watertown Children’s Theatre, New Repertory Theatre, and arsenalArts Christmas collaboration was quite charming.  This production of a holiday favorite was efficacious.  This evening roused the need for the emotional warmth of love to fend off the cold of the winter, wealth and the world.

Peter E. Haydu (Jacob Marley) and Paul D. Farwell (Scrooge) in CHARLES DICKENS’ A CHRISTMAS CAROL.

Photo by Andrew Brilliant/ Brilliant Pictures.

11:11 Theatre Company is a current resident of Mass Ave’s own Factory Theatre, an oppressively large loft complex housing a tiny, but neat, black box performance space- with limited seating (49), limited heating (brr), and limited resources (claustrophobic little booth, no access to bathrooms for the actors!) but 11:11 makes the space pleasant and inviting.  This fresh-faced little company has only been on the scene since 2005, when it moved to Boston from Ohio and has consistently provided the audience with tender but tenacious productions.  They dare to be different with regional debuts and under-represented playwrights, sometimes with fantastic results, sometimes, well, lessons in faith and courage.  11:11 Theatre Company’s The Three (Un)Wise Men is rowdy, bawdy, and fun.

Brian Tuttle’s clever little tale is a retelling of the biblical story of the Three Wise Men,  with some pretty serious modifications.  Each “king” is no more than a simple townsman; from dim-witted Caspar, to the violent yet misunderstood thief, Balthasar, to portly Malchior, student of everything from food to the stars.  The motley crew go on a most nefarious journey to obtain wealth so that Balthasar might win the hand of his one true love, Yeetel.  They visit a leper colony, a whorehouse, and fall victim to the trappings of King Herod before reaching Bethlehem and ultimately, the son of God himself.  Along the way they are visited by a host of characters, played with gusto by the small ensemble.  The show is a little rough around the edges, but that is to be expected of a world premiere, and the language is enough to make anyone cringe- but the message is a good one and I defy anyone to not have a smile on their face when they leave the theatre.

I’ve been in many a production at the Factory Theatre and served on the production crew of another half dozen more, so I know the limitations of the space, and one of them is how intimate the actors get with the audience.  Steps away, we can see every line and every sweat stain, and the wonderful cast did a great job of putting us at ease by being so comfortable with themselves.  The three leads strip down into underwear mere inches away from snickering teens and blue haired old ladies.  Greggory Daniels shines as Caspar.  I wanted to embrace him almost from his first line, throughout the story he anchored the audience into a place of love and devotion.  John Greene’s Balthasar is a great brute of a man, clomping around the stage with little regard for his companions- and though Greene got himself into an extremely predictable repetitive vocal pattern for most of the show (I’d describe it as “shouty sing-song”) there were lovely moments of nuisance thrown in to balance out the overall effect.  Danhai Jackson stole the show as Malchior.  With a seemingly endless supply of fruit and treats sewn into his robes, his mouth was almost always full, and his easy gentle way was infectious as he continued to heap on the different schools he is an eager student of.  A good, old time philosopher trapped in the body of a would-be thief, he’s the most fun to watch.  The beautiful Rebecca Mae Davis embodies the entire female ensemble, from shrewish Yeetel to the beautiful and Supine Shiva, and she gives a good flavor to each.  The ensemble is rounded out by Sam Perry and Ethan Scott who wear many hats; leper bandages, laurel leaves, and soldier helmets- and keep the audience guessing.  Both gave fun and fitful performances.

Besides the fact that someone should look into the light transition between the first and second scenes (holy cow that was a bright light!  You might try that one at 75?) the production crew did a very nice job of bringing the desert land to life.

I noticed the show started on the 11^th of the month, is that a coincidence, 11:11?  Because I found it rather clever. You should definitely  take credit for it even if it’s not on purpose.  This is a fun little show and they still have a week left of performances.  It isn’t a good one for the kiddies, but it would be a fun way for some grown-ups to spend a night as we march on towards our own Holiday stars.

The Three “Wise” Men offer their gifts.

I wanted to like Company One and Phoenix Theatre Artist’s production of Christmas Belles so much.  It seemed to me like a little gift from heaven, a Holiday show by the creators of one of my favorite and arguably one of the funniest television sitcoms of all time, The Golden Girls, and I was prepared to be dazzled by the jollity of comedic genius.  I’m afraid that I was left feeling immensely underwhelmed by this production.

The cast wasn’t bad, in fact, I enjoyed the performance of almost all of the jovial crew, but it was hard for them to make up for what was lacking in the script- that is, something that linked together the moments of obscene exposition and cheap one-liners that actually managed to warm the audience’s heart.  I am a firm believer that any holiday story, no matter how cheesy, needs to have the “heart warm” factor firmly in place in order to be successful in the genre.  This script just didn’t cut it for me, and though the second act did pick up a little with brief moments of good writing, the first act was so dismal I almost stopped paying attention.

I could go on about specific reasons why I didn’t like the script of Christmas Belles, but Company One and the Phoenix Theatre Artists did assemble some great talents, and I want to give them the credit they are due.  They were the only thing that saved this cardboard cutout of a Holiday show.  First and foremost let me say that I absolutely loved Terrence P. Haddad as Sheriff John Curtis Barker.  He perfectly balanced the need to be a ridiculous caricature with moments of real character development, and his lines were perfectly accented.  It was fantastic to get to see him with lines and vitality after his amusing but fairly silent stint in the Superheroine Monologues.   I also enjoyed Barbara Douglass as Frankie- surely she must be a mother herself because she was a natural at waddling around with that pregnant belly strapped under her clothes.  Light and clever, she actually plays with the sub-par lines she’s given and manages to imbue them with a little heart.  She’s got good chemistry with her on-stage husband, Dub, played by Dave Sanfacon.  Some of the funniest moments of the whole production are their repartee and clever mirroring medical conditions. Rory Kulz as Raynerd is my other favorite of the night.  Somehow he breathed life into the “village idiot” stereotype and gave the audience a very sensitive performance- and the red flyer wagon was the perfect finishing touch to his ensemble.

Direction by Greg Maraio shines in act two’s holiday pageant, when finally the comedy starts to click into place.  I have to admit that the baby Jesus doll with full beard and blinkie eyes made me laugh out loud, especially with the polar bear holding him upside down.  I almost wish I could have that scene captured in my memory as the entirety of the production, because Maraio clearly helps to lead the cast to the finer points of the script at that moment!

All in all, not my favorite of this season’s Holiday fare, but not a total bust for our friends at Company One and Phoenix Theatre Artists.  I am going to keep coming back.  I am really looking forward to the Company One production that wows me as much as my colleague enjoyed The Overwhelming but I don’t think anything can top last season’s The Memory of Water produced by Phoenix Theatre Artists while still under the “Way” label.

An unusual Christmas Pageant.

As Christmas approaches the airwaves are filled with Christmas Carols.  Holiday Specials are broadcast on television, interrupted by holiday advertisement.  Retail stores are filled with gifts and their wrappings.  Town squares and city blocks are decorated with the flavors of the season.  Most prevalent in my recollection of a Bostonian’s holiday season tradition is Boston Ballet’s The Nutcracker.

If one could describe the experience that is Boston Ballet’s The Nutcracker in one word it would most certainly be “spectacular”.  The ornate set pieces and the lavish costumes paired with fly systems and snow flurries; this piece is a visual magnum opus.  The production quality of the ballet is always superb.  Mikko Nissinen choreographed the piece exquisitely, beautifully filling each musical phrase with complimentary combinations.  Notably of Mr. Nissinen’s choreography was his use of thematic repetition, in the Waltz of the Flowers, for example, establish a progression and build up in the steps until he is ultimately filling the trills of the music with tricks and lifts.  Often distinct musical sequences are filled quite repetitively equating the same set of steps with the same sounds in the music.  Mr. Nissinen chose to save those moments of where the choreography onomonapoetically fills the trills.  This created a dissonance between the dance and composition that cadenced quite nicely once the musical notation was quintessentially matched by the movement.

It must be said that, albeit nonetheless beautiful, the dance itself not the most breathtaking aspect of the performance.  The expectation of Boston Ballet is quite lofty.  It is, therefore, a disappointment to see unclean lines and seemingly laborious lifts of the Snow Queen and King, the loose synchronization of the Pastorale, or the prepped but not performed trick of the Arabian dancers.  This is in no way to suggest that the ballet being performed was of poor technique.  There were, with out a doubt, moments of prodigious form and athleticism.

One of the most enjoyable elements of the ballet was the Corps de Ballet.  In years past, I have been distracted by that one flower in the corps who’s a half a beat behind, or whose lines are sloppy.  This performance, however, left me captivated by the cohesion of “the group”, whether it was the Snowflakes or Flowers.  Precision and grace was the emblem of these ladies dancing as one.  Quite impressive was also the Young Man danced brilliantly.  He made his entrance with a switch leap with such an airtime that would give Michael Jordan an inferiority complex.  With his left foot fixated firmly to the stage as though it were the pin in a wheel he pirouetted and fuetéd dizzyingly and beautifully.  Harlequin and Columbine danced were a brief but boffo bit.  Columbine was exceptional in the affectation of her movement to capture the spring-loaded bounce of a wind up doll.  A mite of special recognition is warranted for the masculinity brought to the Arabian dance.  Often in this Divertissement the slinky style of the music inspires choreography and performance most characteristic of femininity.

Despite what seemed to be a problem in partnering, the Snow Queen was a technician with an extension that seemed limited only by her own discretion.  The ease with which her développé unfurled is the stuff of ballerina’s dreams.  Of the same ilk was James Whiteside as The Nutcracker/Cavalier.  As the Cavalier Mr. Whiteside turned out fluent Chainé leaps that gave the impression that any contact between his feet and the stage was more of a courtesy to the stage than a necessity to propel his movement.  The stand out performance of the evening was by far away the Russian in the Trepak Divertissement.  Athletic, energetic and precise, the most recognizable section of the suite was performed with bravado.

The Boston Ballet’s production of The Nutcracker was quite enjoyable.  Technically and Musically, Boston Ballet has once again demonstrated their commitment to the spectacle of the piece and season.  The dancers performed proficiently to bring delightful life to the choreography and vision or the company’s Artistic Director, Mikko Nissinen.  This staple of Boston’s holiday season has once again captured the hearts of the audience and declared the start of Christmas.

A beautiful tableau of The Land of Sweets