Displaying items by tag: Eric Kimmel

In 2020, the Ovals of Ostropol, the fictional troupe of travelling players that bring the story of Hershel and the goblins who menace him to life in Strawdog Theatre Company’s holiday tradition, were forced to spread Hanukkah cheer and occasional chills online. This year, the Ovals are back in a surprisingly rollicking (given the size of the troupe) live production of Hershel and the Hanukkah Goblins, adapted from the children’s book by Eric Kimmel by Michael Dailey, with music and lyrics by Jacob Combs.  Tickets are free, making this story accessible to all, though donations are welcome and well-deserved. Director Hannah Todd has marshalled a team of designers and performers that create a charming and joyful holiday entertainment for the whole family. The enthusiastic cast play multiple roles and instruments, using deliberately low-budget stage magic to transport the audience to the town of Chelm, where they must convince the community that stories are worth retelling...and that performers are deserving of food and shelter. Only the most jaded will not be convinced.

Eric Kimmel’s children's book tells of one man’s efforts to save Hannukah from the goblins who have taken over the old synagogue and who, for reasons unknown, hate Hanukkah and blow out the candles and throw the latkes on the floor whenever anyone tries to celebrate the holiday. Michael Dailey’s adaptation frames the story with a troupe of down-on-their-luck traveling players, including a descendant of the book’s principal character, also named Hershel. This year’s company, wearing Oval-branded masks against the anachronistic COVID-19 pandemic, are a troupe of vaudevillians whose skills do not earn them enough to pay their dinner, though they make for an entertaining pre-show. Which brings them back to Chelm—the town where Hershel’s grandfather set out to outwit the series of goblins. Hoping to find a warm welcome, windows lit with Hanukkah lights, and food and shelter, the troupe instead finds a dour shopkeeper who explains that the town has no need for stories and turns them away. After some cajoling and bullying Hershel convinces her to listen to the story of how his ancestor defeated the goblins and then make her decision. The troupe scrambles to put together the show, sharing all the elements that will become the props and goblins through theatrical magic and commitment.

Hannah Todd and the ensemble of performers and designers have created an accessible, low-tech performance that relies on mild Catskills-style humor, slapstick, and some dance and acrobatics. Nothing fancy. The Ovals seem to rely more on charm than skill, which explains their destitution. However, they have charm in spades, which makes it nearly impossible not to root for them. Todd does an excellent job of keeping the pace moving, allowing just enough time for laughs (or groans) and audience responses, and, finally, a moving celebration of stories and community. She introduces all the elements of the play-within-the-play either in the preshow, or in the “panic” to pull together a show in a moment’s notice, and it is fun to see how the elements are transformed when the story of Hanukkah-hating goblins is performed. The cast convey the urgency of their characters predicament without ever losing their connection to the audience and their message of togetherness. As Hershel, Morgan Lavenstein plays Hershel with just the right amount of swagger, easily switching between physical humor and solemn songs of the season, which beautifully ground the production. She also does a great job of encouraging the moments of audience participation. As Hershel’s foil and partner, Leor, who does not share Hershel’s faith that all will be well, Charlie Baker plays multiple roles, including a greedy goblin who must battle a pickle jar, with physical aplomb and comic timing. The droll Rebecca Marowitz as Max teams with Baker for vaudevillian hijinks and brings the Innkeeper to life. LaKecia Harris as Sara brings energy and warmth to her role in the ensemble, as well as a big vocal presence as one of the more menacing goblins. Christopher Thomas Pow and Amy Gorelow provide the musical spine, with Pow on violin and Gorelow on the upright bass underscoring and accompanying much of the play. Pow also voices an oddly charming, tiny tong-goblin, and Gorelow adds some comedy with her character’s attempts at acrobatics. The whole company does an excellent job of manipulating the objects that comprise the set, props and goblins. There’s even a goblin-brawl!

Scenic designer Caitlin McLeod has created a puzzle-box wagon that contains the entire play, with a few scenic touches that unite cast and audience in the spirit of Hanukkah. The wagon provides a backdrop for the Ovals’ act, holds chests of props and accessories, and then transforms into a stage. Lighting designer K Story subtly shifts focus from exterior to interior, allows the “candles” to shine, and helps create the dramatic Goblin King entrance and the miracle of the Hanukkah lights that eventually comes to pass. The props by Foiles, and puppets by Foiles and McLeod, with Stephanie Diaz serving as puppetry consultant, exemplify stage magic—common objects are transformed into goblins of all shapes and sizes, including an initially terrifying Goblin King. Both the design and performance of these puppets are delightful. Daniel Etti-Williams’s sound design relies heavily on old-fashioned Foley effects, which adds to the sense of theatricality; the coming of the King of Goblins is particularly foreboding. The movement by choreographer Amanda Crockett, incorporates acrobatics, vaudeville and traditional dance elements to tie together the worlds of players and play. Gregory Grahams costume designs bring the story closer to modern times, early in the 20^th century, with a mix of urban and rural styles. Music director Ricky Harris deploys the considerable instrumental and vocal talents of the cast to perform Jacob Combs’s klezmer-inflected score, creating a rich musical backdrop for the play. From the energetic Dreidel song, which provides a good primer of the rules of the dreidel game—helpful for later in the play—to spare settings of the Hanukkah prayer that accompany the lighting of the candles, to goblin encounters and a final musical lesson on latke-making, Harris’s musical direction fills the space.

Even the youngest members of the audience will be able to figure out what will transpire long before it does, but in the hands of Strawdog’s energetic ensemble, Hershel and the Hanukkah Goblins is a fast-paced, magical love letter to storytelling and community. Though Hershel and the goblins both are delighted by geld, Hershel and his company ultimately desire just enough to keep themselves fed and sharing stories. Though enjoyable for children of any age (there was only one child in attendance at the performance, but he represented his generation well), this show will delight younger theatergoers with opportunities to join in songs, offer advice and dance along. Hershel and the Hanukkah Goblins is a joyful and moving part of the holiday season, and well worth a visit.

Hershel and the Hanukkah Goblins, now in its fourth consecutive year, runs through December 12, 2021 at Rivendell Theatre, 5779 N. Ridge Ave. in Chicago. Tickets are FREE and currently available at www.strawdog.org. Please note that audience members 2+ must wear a mask, and all audience members 12+ must provide proof of vaccination or a negative COVID-19 test before entering the theater. Performances take place Saturdays and Sundays at 1 pm and 4 pm, and there will be an added understudy performance on Friday, December 10 at 7:30 pm.

This is the third year that Strawdog Theatre Company is presenting its adaptation of Eric Kimmel’s children’s book Hershel and the Hannukah Goblins, but this is 2020 and a pandemic has forced the performance to go online. The outlines are still there: a traveling troupe of vaudevillian players fallen on hard times barters with an innkeeper for room and board, sharing a story for food. Hershel and the Hannukah Goblins is that story, about the wily grandfather of the troupe’s leader and his efforts to save Hannukah from the goblins who have taken over the old synagogue and who, for reasons unknown, hate Hannukah and blow out the candles and throw the latkes on the floor whenever anyone tries to celebrate the holiday. The cast is talented and energetic and give their all, interacting with the unseen virtual audience, but the absence of that audience casts a pall on the proceedings. The show is still a sweet reminder of the traditions of the season: the food, the lighting of the menorah, the dreidel, and, most importantly, the community and generosity that is celebrated. But without an audience of children to play along, the show struggles to take off. That said, Strawdog has done what they can to ensure that families (though not reviewers watching in their living rooms with blind cats in their laps) can create a fun and festive event with a little advance preparation. There are coloring pages that help tell Hershel’s story and there are moments when parents can guide their offspring to offer magic words or evaluate the quantity of gold required for a dreidel game. There is a song to guide the making of latkes, and songs to light each candle. If you are a parent of kids, especially those under 10, who wants to create a live living room experience, the ingredients are all available.

Hershel and the Hannukah Goblins recalls the stories of Sholem Aleichem, with the title character tasked with outwitting an ever-more threatening gaggle of goblins to save Hannukah, which the town has not been able to celebrate since the goblins took up residence in the creepy, old synagogue. Director Spencer Ryan Diedrick has recruited a young, musically talented ensemble to tell the story, and even tries to recreate the live theater experience with a pre-show warm-up of songs and knock-knock jokes. All the actors take on multiple roles and perform from their own homes. Diedrick has ensured that props make their way smoothly from screen to screen, the action is fast-paced, and the cast connect as best as they can with their young spectators. The spritely songs by Jacob Combs, mostly performed live by the cast under the musical direction of Celia Villacres, are klezmer-based but with an appealing contemporary beat to make them accessible and danceable for audiences new to the genre. Even though the performance would not exist without the magic of technology, this is a decidedly low-tech adaptation, with actors employing masks, puppets, costume accessories, acoustic instruments and papier-mâché props to tell the story. Aly Amidei’s costumes are reminiscent of the early 19^th century, but also reflect the homespun aesthetic of the “traveling” company. The props by Manny Ortiz are bold and colorful and easy to manipulate onscreen. The masks and puppets that represent the goblins are a clever range of folded paper puppets to sock puppets to baroque papier-mâché masks which convey the ever-more-menacing goblins. No need to worry about frightening the children, though; these goblins are not the sharpest demons in the drawer and should not give even the youngest and most sensitive viewers any trouble sleeping.

The cast, led by Rebecca Keeshin (who also plays a mean ukulele) as Hershel, and including Julia Atkin, Sonia Goldberg, and Ian Minh, interact as best as Zoom will allow with each other and the audience. They quickly add costume pieces to take on different roles, share songs and jokes, and gleefully inhabit various goblins (or interact with different goblins, in the case of Keeshin). Their performances will no doubt encourage young people to talk to the screens in front of them.

Though the end of Hershel’s quest is never in doubt, any more than the players’ welcome into the community, Hershel and the Hanukkah Goblins will provide a joyful diversion for families of young children willing to add some spirit at home. Despite the opportunities offered by moving the show online, Strawdog Theatre Company has opted for a stripped-down, old-fashioned children’s theater experience. If you have a young audience at home, and want to take them to the theater, clear some space in front of the screen and play along. Then they can color in the show-related pictures and help make latkes. It will take some effort at home, but the Hannukah show can be saved.

Hershel and the Hannukah Goblins will be performed live, online, through December 20, Saturdays and Sundays at 1pm and 4pm. Tickets are $25 - $30 and are available at www.strawdog.org.