Review of 'Twas the Night Before Christmas at Dallas Children's Theatre

http://www.theaterjones.com/images/large/l_250227033928.jpg~!~From left: Ryan Page (St. Nicholas), Sierra Stead (Sugar Plum Fairy), Sophia Lasley (Sugar Plum Fairy), Grace Bush (Sugar Plum Fairy), Brad M. Jackson (Clement Moore) in <em>'Twas the Night Before Christmas</em> at Dallas Children's Theater~!~Karen Almond~~~http://www.theaterjones.com/images/large/l_250227033750.jpg~!~Meghan Miller (Queen of the Sugar Plum Fairies) in <em>'Twas the Night Before Christmas</em> at Dallas Children's Theater~!~Karen Almond~~~http://www.theaterjones.com/images/large/l_250227033515.jpg~!~From left: Mimi Simons (Charity Moore, with doll), Monique Abry (Catherine Moore), Meghan Miller (Queen of the Sugar Plum Fairies), Allyson Guba (Margaret Moore) in <em>'Twas the Night Before Christmas</em> at Dallas Children's Theater~!~Karen Almond~~~http://www.theaterjones.com/images/large/l_250227033448.jpg~!~From left: Mimi Simons (Charity Moore, shortest), Ryan Douglass (Charles Moore), Brad M. Jackson (Clement Moore), Allyson Guba (Margaret Moore), Will Singleton (Benjamin Moore), Monique Abry (Catherine Moore) in <em>'Twas the Night Before Christmas</em> at Dallas Children's Theater~!~Karen Almond~~~http://www.theaterjones.com/images/large/l_250227033316.jpg~!~From left, standing: K. Doug Miller (Toy Soldier), Chloe Friedman (Toy Soldier), Ryan Page (St. Nicholas), Johnny Lee (Toy Soldier), Ryan Thomas (Toy Soldier), Meghan Miller (Ballerina Toy); from left, sitting: Tru Ramsey (Jack in the Box), Cameron Anthony (Ragdoll) in <em>'Twas the Night Before Christmas</em> at Dallas Children's Theater~!~Karen Almond

Review: Twas the Night Before Christmas | Dallas Childrens Theater | Rosewood Center for Family Arts

To All, A Good Night

Dallas Children's Theater brings the story of Clement Moore, and his famous poem, to life with 'Twas the Night Before Christmas.

by Cathy O'Neal
published Sunday, November 24, 2013

Photo: Karen Almond

Meghan Miller (Queen of the Sugar Plum Fairies) in 'Twas the Night Before Christmas at Dallas Children's Theater

 

Dallas — ‘Twas the weekend before Thanksgiving, and all through the city, theaters prepared for their holiday shows, from traditional to not-so-pretty.
Fortunately, one of the first holiday productions to open this season is not only pretty, it’s charming and warm and sets the perfect tone for Christmas. It’s also new to the area, which is a welcome bonus, when most of the holiday theatrical offerings are shows that have been done before, or to death in some cases.

‘Twas the Night Before Christmas, which tells a partially fictionalized story behind Clement C. Moore’s classic poem, is making its North Texas premiere at Dallas Children’s Theater through Dec. 22. Written by Jennifer Kirkeby and Shirley Meir, the production was commissioned and first produced by Stages Theatre Co. in Minnesota in 2009.

For its North Texas debut, ‘Twas the Night Before Christmas is directed by DCT Executive Artistic Director Robyn Flatt, who leads a large cast by DCT standards. She’s assisted in bringing the familiar poem to life by Doug Miller as associate director and choreographer and Vonda Bowling as musical director. Their combined efforts result in a heart-warming Christmas card for area audiences.
When we meet Clement Moore, he’s faced with the challenge of writing the New York Evening Post’s annual Christmas piece, which is expected not only by the paper’s readers, but also by President James Monroe, who traditionally reads the newspaper’s annual holiday offering to his children every year. Moore reluctantly takes on the task — he considers himself to be a “serious writer.” Moore tackles the project at home, surrounded by his wife and five children on Christmas Eve.

The real Clement C. Moore wrote the poem for his own children, according to the Poetry Foundation. He had six children at the time, and recited the poem for them on Christmas Eve in 1822. The Moore family eventually included nine children. Moore was indeed a serious writer, author of historical biographies and books on language. But he also was a poet. His most famous poem was published anonymously as “A Visit from St. Nicholas” the year after it was written. It wasn’t until 1844 that Moore was credited with the poem in an anthology of works by New York poets.

The charming, fictionalized version weaves in holiday magic to help Moore with his writer’s block in the form of giggly sugar plum fairies, toys coming to life, and of course, St. Nick himself. Along with Moore’s family, they contribute clever phrases and ideas that break through Moore’s writer’s block.
As Clement Moore, Brad Jackson showcases his natural storytelling abilities and physical comedy skills. His interactions with the sugar plum fairies are sweet and awkward. As his wife, Catherine, Monique Abry achieves the balance of being a loving mom and family disciplinarian as her frazzled husband tries to meet a deadline on a night that was meant for family time. She also contributes a lovely voice, featured in her song, “This is the Time.”

Other standouts in the cast of 24 are Finley Jennings, the exuberant and outspoken daughter, Charity, who punctuates her outbursts with “oh, pickles!” and Deborah Brown as the gossipy caroler, Ruth. The Moores are fortunate to have strong carolers in their neighborhood, anchored by well-known local talents including Brown, Sheran Goodspeed Keyton and Wendy Welch.

When it comes to design, the exquisite costumes by Lyle Huchton take center stage. Each piece is beautifully detailed and accessorized. Be sure to look closely at the sugar plum fairies. Each one has something just different enough to make them unique individuals—like snowflakes.

The story unfolds in the Moore’s home, a large, warm, wood-toned expanse of a house decorated for Christmas with greenery and bows. In real life, Moore’s family lived in a mansion in an area of Manhattan that would become Chelsea Square. H. Bart McGeehon’s set, with its high arched windows and carved mantel over the fireplace looks like it was transported directly from that place and time.

‘Twas the Night Before Christmas is a delightful mix of story, whimsy, magic and song. It can be enjoyed by the whole family, but probably best for children 5 and older. The younger ones may not recognize Moore’s story at first, but when it’s time for the classic poem to come to life, it’s Christmas magic.

Photo: Karen Almond

From left: Ryan Page (St. Nicholas), Sierra Stead (Sugar Plum Fairy), Sophia Lasley (Sugar Plum Fairy), Grace Bush (Sugar Plum Fairy), Brad M. Jackson (Clement Moore) in 'Twas the Night Before Christmas at Dallas Children's Theater

  

Beware of the Person in the Next Stall

Years ago my girlfriend and I went to the lovely Dorothy Chandelier Pavilion to see "Annie Get Your Gun." My girlfriend, Patty was going to be playing Annie, and I was the choreographer in an upcoming production at The Conejo Players in Thousand Oaks, CA. We were looking forward to seeing the Los Angeles Production, and we certainly weren't disappointed.

During intermission, we waited in the perpetually long line for the restroom while the men swiftly and easily went in and out of theirs. Once in our stalls, I looked to my left at Patty's lovely espadrilles under the dividing wall. She had recently purchased them, and I couldn't wait to get a pair. Patty was always a step ahead of me in fashion, and I would often take my cue from her as to what to buy.

I decided to play a trick on my unsuspecting girlfriend. I've always enjoyed playing silly, innocuous tricks on my friends. While still admiring her lovely sandals, I reached under the stall divider and untied Patty's right espadrille. Whoosh! Easy! So easy in fact that I made a mental note that when I bought my own pair, I would double knot the laces so this wouldn't happen to me.

Patty screamed. I laughed. But I knew that time was of the essence. I didn't want to lose the element of surprise. I moved in for the second one. I reached all the way over and untied her other lace. She screamed again. I laughed even harder and said: "I got you!"

I left my stall and went to the sink to wash my hands. Still chuckling to myself, I watched Patty's door in the mirror waiting for her to come out. I imagined that it was taking her some time to retie her sandals. I looked down the long full bathroom, and saw...Patty! She was washing her hands at the other end of the room!

Nothing can describe the panic that I felt. I motioned frantically for Patty to hurry. "What?" What's the matter?" she said as I quickly pushed her out of the bathroom. "Shhh! Don't say anything!" I whispered hoping that nobody would later be able to recognize my voice. Surely the victim in the stall was already making mental notes of the perpetrator!

Once we were out of the bathroom, I said: "Walk this way!" I zigged and zagged as fast as I could until I felt that we were in a safe zone and that no one there would recognize my shoes. Then I began to laugh. And laugh. It took me a while to tell Patty what had happened. When I did we both howled until tears ran down our cheeks.

Despite the humor of the situation, I've always felt truly sorry for the poor woman in the stall. I'm sure that it was a frightening experience. So, in the unlikely event that she reads this, I would like to publicly apologize for untying both of your espadrilles. If nothing else, perhaps you can take comfort in knowing that you have fabulous taste in shoes!

Please Don't Flash the Bunny!

I just finished playing the "Old Lady" in a wonderful production of "Goodnight Moon". Chad Henry did an amazing job of adapting the beloved children's book written by Margaret Wise Brown. Many parents read this book about the Little Bunny who keeps finding reasons not to go to sleep to their children until the book's pages are worn from all of the page turning and love.

I was the only adult in the musical. The average age of the cast was 13. Being the only adult has its challenges, but these youth actors were pros.

The reason that I am mentioning the ages of the cast is because as you can imagine, I felt very motherly towards them. When they got sick I told them to drink more water. When they broke a shoelace, I gave them a new one. When they were too loud in the green room...well, I told them. Over a six-week rehearsal period and a five-week performance schedule doing 9 shows a week, we got to know each other very well.

"Goodnight Moon" was an adorable show visually. It was intentionally designed to look just like the book, and it did. Our mostly young audience sat spellbound for the most part. "He sat at the edge of the seat the whole time!" "She wants to come and see the show again!" "This is our first show, and we'll be back!" "He's never been quiet for a whole hour since he was born!" were some of the many comments that we heard in the receiving line.

We had many first time theater-goers. And with first time theater-goers, mistakes are bound to be made. (Can you feel the tension mounting???)

Most people understand that having a cell phone go off during a movie or live theater production is not acceptable. It is disruptive and rude. I heard a story of an actor who chased the offender with the cell phone out of the theater screaming at him (the offender apparently decided to answer his phone and have a discussion during this actor's scene onstage). Most actors that I know have had similar thoughts, but haven't carried them out.

At the beginning of each of our shows an announcement is made welcoming the audience and then giving them a few simple rules. One of those simple rules is: "Flash photography, cameras and recording equipment of any kind are not allowed in the theater." Seems reasonable to me. Clear, concise and easy to understand.

Let's review the reasons flash photography is not allowed:

1) It blinds the actors. They could fall and break something.

2) It is rude. It distracts other theater goers who might not like a bright flash to occur during their theater going experience.

3) It is illegal. The set designer, costume designer, director, choreographer, writer, prop designer are all artists who have created a piece of art. Copyright laws are broken when someone takes a picture of their work without their permission.

4) Did I mention it blinds the actors?

Even with the pre-show announcement and the fact that it is also written in the program, there are inevitably people who don't know any better. A flash will go off here and there. When that happens, the House Manager politely asks them to stop. This usually works. However, one day we were besieged. It was as if a group of people had carefully planned their attack. Here is what I imagine their meeting sounded like:

MARY: OK. We'll take a few flash pictures during the show. Not too many - we don't want to get caught.

BRUNO: That's right. I just got out of the joint. Food's terrible! I'll sit in the left of the theatre. Mary, you sit in the right.

SPIKE: I'll sit in the middle of the theatre, so they can't get to me. Besides, I still got that warrant out on me.

MARY: Good thinking, Spike! During the finale, take as many flash pictures as you can. I don't see any cops! The car's waiting out back.

SPIKE: Got it!

During our finale, we sang: "Keep a Positive Attitude". As you might imagine, it is an upbeat, happy, optimistic song, and we were all smiling and singing our hearts out. That's when Spike clicked off at least five flash pictures in a row. Bruno and Mary were clicking away as well. I had held it in for as long as I could. But we all have our breaking point. This Bunny's carrot cracked.

You see my photograph. I don't look very intimidating. Actually, I am almost 5'9" and dressed like a...bunny, so I had that going for me. We were all being blinded by the constant flash. The cast kept smiling and singing. But like I said, my carrot had cracked.

I stepped out of the line and toward the audience. I held up my hand like Diana Ross when she sings: "Stop in the Name of Love". I looked right at the perpetrator and shook my head: "NO!" I wasn't smiling. I had lost my positive attitude. I was thinking about the kids. How they had performed through sickness and health, broken shoelaces and ripped pants. Struggled with keeping up at school, and all of the drama that we all went through at that age. And yet, here they were singing and dancing and smiling only to be blinded by Spike.

The flashing stopped. I stepped back in line. I put my smile back on. I finished singing and dancing with the cast.

Did I do the right thing? I felt badly for the 700+ other audience members who weren't taking pictures. But it had to be done. A lesson had to be learned. Hopefully those people who felt compelled to take pictures of the cast won't do it anymore. And if I have saved even one bunny from being flashed, well then, it was worth it.

MADELINE'S CHRISTMAS

Playwright Jennifer Kirkeby and Composer Shirley Mier at GREAT Theatre

Photo by Mick Kirkeby

Madeline's Christmas at Stages Theatre Company, 2007
Photos by Bruce Challgren
















In an old house in Paris
That was covered with vines
Lived twelve little girls
In two straight lines.
They left the house at half-past nine
In two straight lines, in rain or shine.
The smallest one was MADELINE.
Madeline’s Christmas by Ludwig Bemelmans, was originally written as a special book insert in the 1956 Christmas edition of McCall’s. The book was published in 1985. In 2003, composer Shirley Mier and I were fortunate enough to be asked to adapt this classic tale of the beloved and ever spunky Madeline for the Stages Theatre Company.

Since that time, Madeline’s Christmas has been published by Dramatic Publishing Company. It has been produced in over fifty theatres in the U.S. This year it is being performed in the following theatres:

Dallas Children’s Theatre, Dallas, TX
Milpitas Rainbow Theatre, Milpitas, CA
Roanoke Children’s Theatre, Roanoke, VA
Berkshire Children’s Theater, Pittsfield, MA
Horizon Theatre Company, Atlanta, GA
Harwich Junior Theatre, West Harwich, MA
Premier Arts, Elkhart, IN
Project DayDream, Birmingham, MI
Theatre of Youth Company, Inc., Buffalo, NY
Cretin-Derham Hall H.S., St. Paul, MN
California Theatre Center, Sunnyvale, CA
A Magical Journey Through Stage, Rochester, NY
Town Hall Theatre, Dayton, OH
Great River Educational Arts, St. Cloud, MN
Germantown Community Theatre, Germantown, TN
Stebens Children’s Theatre, Mason City, IA
Spokane Children’s Theatre, Spokane, WA
Oakcrest School, McLean, VA
BroadHollow Theatre Company, East Islip, NY

Here is the description of the musical which can be found on Dramatic Publishing’s website: http://www.dramaticpublishing.com/

"In an old house in Paris that was covered with vines lived twelve little girls in two straight lines." So begins this delightful story of Madeline's Christmas! The day begins like any other day. Miss Clavel takes the twelve little girls on their morning walk. They go to the zoo and then back to school for their French history lesson. Suddenly disaster strikes when everyone gets the flu! Everyone that is, except for the ever-resilient Madeline. Saddened that they may not be able to go home for Christmas, the girls and Miss Clavel take to their beds. But on Christmas Eve, the adventure begins when there is a knock at the front door. Expecting to see Santa, Madeline meets the Rug Merchant who has brought twelve very special rugs. He reminds Madeline that Christmas is the time of miracles, and that these are not ordinary rugs! Soon everyone wakes up feeling healthy. The Rug Merchant shows them that they each have a magic carpet and that they can fly home to be with their families for Christmas! After saying goodbye to the girls, Miss Clavel finds a present that the girls left for her, befriends a little mouse, and counts her many blessings singing: "Everything Is Right Tonight." Before you know it, the girls fly back to the Old House and are together again on New Year's Eve. They thank Madeline for taking care of them and making their Christmas so special!"

I have told a lot of people that adapting this story into a musical was a labor of love. It really was. Like many young girls, I grew up reading the Madeline books, and I read them to my own daughters as well. Creating the world in which Madeline, the twelve little girls, Miss Clavel, Mrs. Murphy, and the rug merchant (I named him Harsha), live was magical.

Part of the agreement for me to be able to adapt Ludwig Bemelmans’ book was to stay true to his original story. Also, the play had to be approved by Barbara Bemelmans, Ludwig’s daughter. And this approval happened after I had put countless hours into the script and lyrics. Luckily, Barbara gave it the thumbs up, and she even gave me some feedback as to what she felt her father would and wouldn’t have written in certain scenes. She told me that it was very important that the “twelve little girls” always show respect, especially to Miss Clavel. She even gave me some suggestions for names of the girls. I will always be grateful to her for helping me to forward the script in that way.

As with any adaptation, there were questions that I needed to answer for the audience. Why did everyone but Madeline get sick? There isn’t any explanation in the book. I decided that Madeline was the only one who remembered to wear her scarf when they go on their morning walk. Being a mom and raising my girls in a cold climate, I thought this might help a few parents while trying to encourage their children to dress warmly.

I also wanted the twelve little girls to be different from one another. On the page they are somewhat like a Greek chorus with their collective “boo hoo’s” and precise straight lines. To give them individuality, I gave them all names and different traits. The more challenging parts of the story occur when the magician makes the dishes move by themselves, and when all of the girls fly on magic carpets to go home for Christmas. One of the great things about being a playwright is that you can write things like: “Plates magically move on cupboard.” “Girls fly on magic carpets by the Eiffel tower.” Then the director and tech crew have meetings and decide how that is going to work!

The first production at Stages Theatre Company of Madeline’s Christmas in 2004 is still the top selling show in the theatre’s history. Last year I was asked to play Miss Clavel for the second production at Stages. It was a delight, and being on the other side of the stage performing 51 shows during the holidays gave me a whole new perspective!

This year I was fortunate enough to be able to see a few of the productions of Madeline’s Christmas. The first one was at the Dallas Children’s Theater. Robyn Flatt, the Artistic Director, the staff, cast and crew were gracious and inviting. My husband, Mick and I were welcomed warmly the minute we entered the lobby. Robyn Flatt gave us a tour of their impressive theatre space. This year is DCT’s 25th anniversary, so prior to the opening show, Robyn gave a speech and then introduced me to the audience. I told them how excited I was to have the opportunity to see the production, and what a great time my husband and I were having in Dallas.

The production was beautiful. Everything from the rich and whimsical set designed by Randel Wright and direction and choreography by Nancy Schaeffer, to the wonderful cast was absolutely delightful. Madeline and the twelve girls were double cast, and fortunately we were able to see both. The flying scene was amazing! I wish that I could thank everyone by name, but I don’t have enough room. Thank you, DCT!

Composer Shirley Mier and I went to see Madeline’s Christmas in St. Cloud, Minnesota at the GREAT Theatre. (Great River Educational Arts Theatre.) They perform in the gorgeous Historic Paramount Theatre. We were welcomed at once by Artistic Director, Dennis Whipple. The theatre was full, and we enjoyed watching the lovely production. GREAT Theatre also double cast the show, which is a challenge during the rehearsal process, but ultimately gave more people the chance to perform. (And a double cast is always very helpful if someone should forget to wear their scarf and get sick!)

After the show, Shirley and I spoke to the cast, crew, and season ticket members, and answered some questions.

“How long did it take to write Madeline’s Christmas?”
I keep telling myself that I need to keep track the next time I write a play. Madeline’s Christmas was at least a year in the making, but that includes outlines, rewrites, waiting for approval, etc.

“How many other theatres have performed Madeline’s Christmas?” Over fifty.

“How did you write the songs?”
I wrote the lyrics and then Shirley Mier wrote the music.

“Who is your favorite character?”
All of them, of course!

Merci to all of the theatres who are performing Madeline’s Christmas! It is such an amazing feeling to listen to the words that you have written being performed onstage with such enthusiasm, excitement and truth. I am indeed fortunate to have had this opportunity, and I am truly grateful.

I wish you all the Happiest of Holidays, a very Merry Christmas, and a joyful and healthy New Year!

Playwrighting Class

Tonight I finished an 8-week Playwrighting class. There were about ten of us, and we came from all walks of life. One lady had always wanted to write a one-woman show. Another woman owned her own catering business, and had been taking writing classes for several years. There was a man who worked all night at the post office, and an older man who had been in theatre his whole life. There were several actors who wanted to try their hand at the art of Playwrighting. And there were people who have had plays published and just needed a jump start. That would be me.

I'm not sure what motivates a person to want to write a play. I mean, why not a novel? Or a short story? What is it about creating a world that people may some day come and watch that is so thrilling? And news flash: there aren't big bucks for most Playwrights. I know, I know. I was shocked too.

It was fascinating to listen to the plays that each person was working on. Every week we would listen to about twenty pages of someone's script. There was a very intense man who was writing a play in which a man was being interrogated by a Priest. It was riveting and violent. He created a world that there was no escaping, and that any of us might find ourselves in if we made the wrong choice.

A women who is a professional opera singer wrote a play that was about the most disfunctional family I have ever heard of trying to have a nice, family Christmas. It was hysterical. And we could all relate.

Another play was about an old man dying in a nursing home for Vets. He was tortured by the visions he had seen during World War II. We all felt the pain and agony that he was experiencing, wanted to help him, but knew there was only one way for him to find peace.

My play was about a reunion of girlfriends. The premise is that they get together for a film that is being made about what happens over time to women who were once best friends. A lot of things go wrong: food is burnt, a busy-body neighbor keeps bothering them, secrets are revealed, but ultimately they all make discoveries about each other, themselves, and what is really important in life. I'm hoping it will be brilliant someday.

There was a quiet, handsome guy with a twinkle in his eye that wrote a murder mystery. His characters romped, gossiped, flirted, had affairs, and then BAM! Someone was killed. But by whom? Unfortunately we ran out of time to finish our plays, but we have all promised each other that we are going to get together in a few months and hear them.

In the meantime, I will continue to work on my play. A play that may never be seen, but that lives in my imagination, that is real to me, with characters whom I care about, laugh with, and enjoy. I can think of worse ways to spend one's time.