Phoenix Theatre's Uh-Oh, Here Comes Christmas
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 12/5/99
(out of )A Christmas show is a Christmas show, no matter how much you may try to make it hip and fresh. The sentimental still invades the modern sentiment. Each monologue, vignette and song still finishes on a Hallmark note. And, whether it's a father and son ringing a bell for the Salvation Army, or Scrooge greeting Tiny Tim, there's no way to make a completely new Christmas play that doesn't start to sound like all of the rest.
Of course, you can't blame Robert Fulgham, of All I Ever Really Need to Know I Learned in Kindergarten fame, and his adapters Ernest Zulia and David Caldwell, for their attempt, as the holiday production is to theatre what a tour of Monet is to an art gallery, and Nutcracker is to a ballet company: a desperately necessary cash cow. Theatres, though, have competition to deal with, and need more than just Christmas Carol, Inspecting Carol, or A Tuna Christmas to keep packin' 'em in. Phoenix Theatre's development of Uh-Oh, Here Comes Christmas, in association with Mill Mountain Theatre, is an elf's step in the right direction, even if the result is still almost as cloying as sugar plums.
Directed by Mr. Zulia, with Musical Direction by Mr. Caldwell, the first thing that one wonders after the clever but sloppily presented opening of dueling Scrooges, is why this isn't a radio play. Imagine the holiday stories of the late, great Jean Shepard that lulled a few generations to sleep at night, but without the same level of bite. Five generously talented actors take the stage and talk about their various Christmas experiences with a modern day slant. Occasionally, they sing about them. At some more appreciated moments, they act them out in a reader's theatre style that makes them more visually interesting, but still can't mask the fact that audience members could do just as good a job closing their eyes and imagining the scene for themselves.
That doesn't take away from the fact that most of the stories are very cute, and one or two actually have an emotional impact. For example, J.R. Robinson and the always wonderful Cathy Dresbach do a great job relating a sure-fire funny story about a contract concerning children and pets in a modern marriage that comes into conflict during a holiday auction. A normally-powerful-but-slightly-off Peggy Lord Chilton and George Hosmer are featured in a rousing tale (the only non-Christmas intimation of the show) about a mixed Irish Catholic/Brooklyn Jewish holiday wedding. A sadly little-used or challenged Rusty Ferracane does a great job singing the penultimate rousing tune, "Spring," and relating a touching story about a link between a particular Christmas tree and Valentine's Day.
Unfortunately, during the matinee, the energy level dragged, and there were some hesitations in line readings by a few of the actors. The occasionally throwaway lyrics sometimes became difficult to understand, due to a lack of diction and as the four-piece orchestra, conducted by Mr. Caldwell, overpowered the performers.
It's not necessarily the fault of the performers that the energy was low and the lines mishandled: this is a work-in-progress, to the point where an intermission has been added since the printing of the program. The extra material that may have been inserted to require the intermission may well mean that the production can now be trimmed to avoid repetitions and bring the show in at a quicker pace.
The evergreen-filled scrims and raked stage are enough of a Scenic Design by Paul Bridgeman to allow the movement of the action from church Christmas pageants to the late night kitchens of leftover seekers. The totally expected snowflake goboes and warm washes in Paul Black's Lighting Design is perfectly safe, though the actors had repeated trouble finding their light as they neared the apron. David Temby's Sound Design, and Gail Wolfenden-Steib's costumes were both solid.
December is the bane of every critic's existence, as we try to find the energy to brave the many repeats of holiday cheer without a "Bah-humbug!" response. The enticement of something new is always welcome, but ultimately, this show is a reindeer in wolf's clothing. While Tiny Tim is mercifully absent from this production, his oft-repeated Victorian sentiment still unavoidably rings through the attempt at modern attitude. And while there's nothing wrong with a new Christmas pageant, this particular production could use a bit more precision to avoid memories of pageant's past.
Production Details:
Uh-Oh, Here Comes Christmas
Robert Fulgham's essays, as adapted by Ernest Zulia
and David Caldwell, with original Music and Lyrics by David
Caldwell
Phoenix Theatre, Phoenix
(602) 254-2151
December 3rd - December 23rd, 1999