Yes, Virginia, There is a Santa Claus

The Holiday season is upon us and the likes of It’s a Wonderful Life and A Christmas Carol, the many seasonal family favorites that mark the time, are at hand. The Ojai Art Center Theatre’s production of Yes, Virginia, There is a Santa Claus is a pleasant addition to the mix.

With two parts tradition and one part adaption, this classic tale of faith, hope, and Christmas magic is one that caters to local families looking for a Christmas production appropriate for all ages. The century-old tale is based on the actual events set in action by eight-year-old Virginia O’Hanlon. In this version, young Virginia (Sophie Massey) struggles with the realities of immigrant life in early America. Her father, James O’Hanlon (David Rogge), has lost his job under unfair circumstances, and with no prospects for employment, the family’s Christmas hopes appear bleak. However, with innocent wisdom, the young Virgina seeks help from the source most trusted by her father, the irrefutable New York Sun. In an effort to get a clear answer, she pens a letter to Sun’s the revered editor, Edward P. Mittchell (Bill Spellman) who assigns the piece to the alcoholic and now suicidal once great reporter Frank P. Church (Frank James Malle). Church struggles with his response to the letter, and in the process of writing his historic reply, faces and ultimately overcomes his own demons as well. In real life as well as in the play Church’s words take on a meaning and importance far greater than the sum of their parts. They become an iconic commentary on the human spirit and the true meaning of Christmas.

This production has a decidedly family feel; the story is simple and the characters typical of the holiday genre. Its strengths lie in the dependability of the much desired happy ending and the overall commitment to telling the tale in a way that equally reaches all members of the audience on some level. The family dynamic is most well played with Rogge delivering a compelling leading performance and pairing well with the charming Chelsea Vivian cast opposite him as his wife, Evie O’Hanlon . Rogge and Vivian along with the youthful energy of Massey form a genuine familial bond in which the audience can fully invest. Other strong performances are given by Spellman who succeeds in developing an engaging character as well as a tangible bond with the audience, along with Malle, Karson Kern, Sierra Taylor and Joyce McWilliams in the supporting but endearing role of Mrs. Goldstein.

Director Brossy Reina proficiently crafts a touching story making use of a minimal but effective set that insinuates well the time period. The pacing at times slows, but well-conceived sound and lighting designs combined with impressive well staged fight sequences keep you involved and vested. The costumes stand out for their authenticity and feel, as does the well placed use of a live kitten to warm the hearts. At times, out of control moustaches border on comical and iffy accents occasionally mar otherwise efficient scenes. The choppy script fails to capitalize on the overall potential of the story, occasionally stifling the dialogue and limiting the flow of theatrical performance, but is sufficient to deliver the appealing message. The overall product remains valuable and the positive aspects of the project hold true.

In all, the show rests on the backs of capable leading performers and resourceful supporting elements to make for a delightful and moving family-friendly production.

http://www.ojaiact.com/ through Dec.16th

OJAi

I am now on the way to Ojai for lunch and a show! See a show tonight!

DEATH TAKES A HOLIDAY

The large parcel of land that the Santa Paula Theater Center sits upon clearly shows that the venue has been serving the community since long before the modern identity of the city of Santa Paula was established. In recent years, the theatre has boasted a strong slate of seasons that exemplifies their steadfast and traditional approach to small town theatre. Their most recent production of Death Takes a Holiday fits well with both this vision and the historic venue in which it plays.

It is a story that has been adapted multiple times for film and stage (here, by Walter Ferris). Originally intended to give a world reeling from the after-effects of war and economic downturn some format in which to laugh at death, the show ultimately did far more than that. Written by Alberto Casella, this work also served to ease the generational tensions that were at a fever pitch in a time dominated by the onslaught of modernization. It was the work’s satirical outlook on the inevitability of death that played so well to audiences through the first part of the twentieth century and into the present day.

The plot lines are crowded with metaphor, but the multi layered meaning plays best at a surface level, leaving the deeper meaning to be divined by audience members as they are so inclined. Thus, the story is laid out in a fashion that is part tongue in cheek and part allegorical musing. Set in 1930s Italy, The Grim Reaper tires of his place in the metaphysical pantheon and longs to gain a better understanding of why humans fear him. So, as all men of proper European stature should do, he embarks on a 3-day holiday disguised as a Russian prince. He appears before a middle aged nobleman and convinces him to permit him to stay at his villa, where he will observe humans and interact with them. Thus, Death endeavors to learn about man’s emotions, feelings, and motivations. As he studies his subjects unawares, he stumbles onto a force even more powerful than death itself. He finds himself at the mercy of the all-powerful feeling of Love. Likewise, the other characters in the show are forced to confront their own notions of true love and their fears of the unknown with varying degrees of depth. Ultimately, it is Death’s desire to change himself to better understand man that leads the audience to question our own ability to empathize with others and see our effect on their lives, including our individual outlook on our own mortality.

The even cast thrives in the first act where the pacing and dialogue lend themselves to entertaining storytelling. While the accents at times falter to distraction, the cast as a whole shows fine chemistry and delivers well-rounded characters. Particularly strong performances are given by the strikingly alluring Jennifer Ridgway and the refined Vivien Latham as well as by the bold and able Eric Mello. The pace slows significantly in the second act as the cast struggled to energize the often-repetitive dialogue of the somewhat dated script. However, they were able to keep a consistent flow that keeps the overall product enjoyable and entertaining throughout.

Director Tom Eubanks draws the show together well, including a strong lighting design by Gary Richardson that aptly punctuates the undertones of the show. The other technical elements at play add ambiance and complete the total picture of Death Takes a Holiday, showing an abundance of care and aptitude by the production design team.

Death Takes A Holiday plays at the Santa Paula Theater Center until Dec 23rd. http://www.santapaulatheatercenter.org/