Immediately following the gastronomical excesses of Thanksgiving are the monetary investments and personal sacrifices we make for Christmas. At the heart of both is family and the importance we place in coming together to sustain and strengthen seminal bonds.
In 1931, a 34-year-old college professor at the University of Chicago took the long view of these ritual gatherings and focused on what they look and feel like over time. In his beautifully crafted one act play, The Long Christmas Dinner, Thornton Wilder also manages to deliver an incisive and sobering treatise on time and its fleeting fragility. What he does so exquisitely in the 26 pages of his script is to point us in the direction of using that time most fully and appreciatively. Chicago’s TUTA Theatre, who “searches for the unique and exceptional in the language of theatre”, has generously brought this rarely produced treasure to the stage at the sparkling new Bramble Arts Loft in Andersonville for the Christmas season.
Wilder has the prosperous Bayard family act as proxies for all families and takes us with him as he visits them experiencing Christmas dinners that span the course of 90 years and four generations. He pays close attention to how the family interacts and the way they voice convictions, concerns and priorities. In many ways, perhaps in all ways, they’re a very typical and intrinsically familiar family. That notion becomes more and more entrenched as the play progresses. When it opens, Lucia (Alexis Primus) is about to welcome her mother-in-law, Mother Bayard (Joan Merlo), to the dinner table of her new home. Her husband, Roderick (Matt Miles) leads the family firm and is the classic head of the house as seen in the era. Proud of his wife, his mother and his success, he glows with the light of the supremely satisfied. Although wheelchair bound, Mother Bayard’s vibrant mind and observant eye reveal a robust inner vitality. It’s her penchant for too frequently repeating how clearly she remembers seeing Indians in the streets during her youth and riding rafts across the Mississippi that hint at the creeping cognitive malaise common found in the aging.
Although rather formal by today’s standards, you can still easily recognize that beneath the rituals of decorum the family practices in their interactions that there is a true closeness of hearts. You feel how sacrosanct kinship is to them. Still, the circle of life encompasses families just as it does individuals. We are born and we die. And it’s the way that The Long Christmas Dinner treats these events that make us evaluate ourselves and our relationships with our own families.
The entire play occurs around a stately dining table in the middle of the stage. Laden with gleaming silverware and China, the luxurious Oriental carpet it rests on and the elegant linear chandelier floating above it are the few things that will remain unchanged. Two dimly lit doorways, one on the left and the other on the right of the stage, represent the ending and beginning of life, respectively. Keith Parham’s quietly graceful set surreptitiously becomes its own character. Stoic and impassive as it witnesses transitions through each doorway. His lighting design would go on to memorably propel and enhance the dramatic impact of the play.
Watching the arch of Uncle Branden’s presence was particularly impactful. Full of life, song and playful mischief, he was such a bright light when he first came to dinner. Assuredly played by Wain Parham, he began to change when Roderick, his cousin, fell victim to his excesses in drink. Branden’s silence began to grow when Roderick later passed through the doorway symbolizing death. As he watched Roderick and Lucia’s children, Charles (Huy Nguyen) and Genevieve (Charlie Irving) grow, his warmth remained, but his effervescence and spontaneity notably faded until he too slowly drifted through the portal on the left.
As new generations of Bayard’s are born, explosions of joy and happiness are plentiful on the right where nurses dressed in immaculate white emerge through the passageway cradling babies who soon grow to teenagers and adults. Often bearing the names of those who proceeded them, old names become new again and we can’t avoid noticing the cyclicality of existence. Rather than a crown denoting succession, among the Bayard women a shawl becomes the item that chronicles the passage and toll of time. Used to keep aging shoulders warm, it symbolizes both the inevitable and the blessing of continuity. That same continuity can be heard when certain random phrases and observations are made by each successive generation that none had heard spoken before by someone else in the family.
Rifts, discord and the realities of life erupt in this very respectable family as they can and do in all. Stifled by family expectations and the limitations of living in a small town, Charles’ son, Roderick II (Matt Miles) bolts to California when confronted about his drinking and lack of interest in familial responsibilities. Charles and his wife Leonora (Seoyoung Park) had already lost a son during the first World War and their second son’s departure marked a crippling blow. As we’re reminded by numerous characters throughout the play, time may not heal grief, but it soothes sufficiently to ease its pain and weight. When Joan Merlo reappears as distant cousin, Ermengarde, that kind of wisdom flows with the power of rushing rapids. A highly accomplished craftsman, Merlo’s phrasings of speech were transfixing as she wrapped the profound in tiny pellets of simplicity. Her gleam of excellence ran through the entire cast, who were uniformly splendid.
Most impressive was the meticulous pacing and abundance of satisfying nuance director and TUTA co-artistic director, Jacqueline Stone, built into the production. She insured small gestures resonated with unexpected force and light touches of humor glittered brightly enough to make the project shine with warmth and contemporary flair.
In a time and landscape where holiday entertainment options are virtually endless, The Long Christmas Dinner counts as an especially rewarding option from a company who has a knack for curating works of discreet brilliance.
The Long Christmas Dinner
Through December 29th, 2024
TUTA Theatre Company
Venue: Bramble Arts Loft
5545 N. Clark Street
Chicago, IL 60640
https://www.tutatheatre.org/the-long-christmas-dinner-tickets
|
|
|
Hello, Dolly! starring Betty Buckley
Oriental Theatre thru November 17, 2018
Tony Award winning superstar Betty Buckley is featured in the title role of this revival of the 1964 Broadway musical Hello, Dolly! based on Thornton Wilder's 1955 play The Matchmaker. For theatre enthusiast, it’s a familiar story…and it’s so nice to have you back where you belong!
Set in New York in 1895, Mrs. Dolly Gallagher Levi is a fast-talking matchmaker and meddler whose been hired to find a new wife for grouchy “half-a-millionaire” feed store owner Horace Vandergelder (Lewis J. Stadlen). Vandergelder travels from his hometown of Yonkers to New York City with the intent of proposing to widowed hat shop owner Irene Molloy (Analisa Leaming). But Dolly secretly schemes to prevent Vandergelder from popping the question to Irene, for one simple reason - the matchmaker, who is also widowed, wants to marry him herself.
Back in Yonkers, Vandergelder’s feed store clerk Cornelius Hackl (Nic Rouleau) and his sidekick Barnaby Tucker (Jess LeProto) shut down the store so they also can journey to New York in search of adventure and possibly a kiss. When they wander into the hat shop and cross paths with the owner Irene and her chatty clerk Minnie Fay (Kristen Hahn), the stage is set for a madcap game of cat-and-mouse as they escape the suspicious Vandergelder.
Director Jerry Zaks and Choreographer Warren Carlyle pull out all the stops in this fast-moving story that includes a bustling parade and a jam-packed New York City courtroom. The high point of the adventure is the famous Harmonia Gardens Restaurant scene. It is a true showstopper with the high energy choreography in “The Waiter’s Gallop” followed by the grand staircase entrance of Dolly herself, as she is welcomed “home” by the entire restaurant staff performing the title song.
Ms. Buckley and Mr. Stadlen have a good rapport even if it felt as if Ms. Buckley’s stage presence overpowered the more understated performance of Mr. Stadlen. But Dolly is a larger than life personality and requires a larger than life performance like Ms. Buckley delivered, even as she appeared to be battling a cold/sniffles.
Rouleau and Leming had perfect chemistry in their respective roles. Leaming’s performance of “Ribbons Down My Back” was one of (if not THE) strongest vocal performances in the show.
LeProto and Hahn were excellent in their supporting roles as comedic sidekicks, unwilling accomplices, and young lovebirds.
The entire performance including the production and design were more than worthy of the standing ovation!
Hello, Dolly! will be on stage at Oriental Theatre through November 17th. For more information visit www.broadwayinchicago.com.
We all have Christmas rituals; practices we incorporate into our personal experiences of the holidays. For me, it used to…
Collaborations can produce tremendous results and the one between Nathan Gunn, his wife Julie Jordan Gunn and Jam Orchestra counts…
Drury Lane Theatre is thrilled to announce casting for Beautiful: The Carole King Musical, a heartwarming journey through Carole King's inspirational life story, where…
Alvin Ailey American Dance Theater, one of the world's most popular dance companies, returns to The Auditorium, Chicago's landmark stage at…
Chicago Shakespeare Theater (CST) announces today an exciting addition to the 2024/25 season: the North American premiere of the new musical 42 Balloons.…
It’s the second act, and Beau (Jake Odmark) is in quite a state. The love of his life is about…
Court Theatre – under the continuing leadership of Executive Director Angel Ysaguirre, with interim artistic leadership from Senior Artistic Producer Gabrielle Randle-Bent and Senior Managing…
Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to present a searing revival of Sam Shepard's dark and beautiful…
Writers Theatre, under the leadership of Executive Director Kathryn M. Lipuma and Artistic Director Braden Abraham, continues its 2024/25 Season with Frida...A Self Portrait, starring acclaimed…
Invictus Theatre Company has announced programming for its 2025 season, its second in residence at the Windy City Playhouse. As…
Kokandy Productions is pleased to open submissions for the 2025 Chicago Musical Theatre Festival (CMTF), returning April 3 – 6, 2025 on The Chopin Theatre…
The Artistic Home will present the Chicago premiere of Mark O'Rowe's adaptation of Ibsen's HEDDA GABLER. This pioneering work of…
My companion was apprehensive about the press release’s statement that “… the two-person cast will play all characters and will…
Unlike many of the shows I review, which I’ve often seen in other productions elsewhere, I went into Music Theater…
Chicago Shakespeare Theater presents Olney Theatre Center's production of Avaaz, a "powerful, defiant, celebratory" (Washington Post) exploration of family and the immigrant…
Between a triumphant European tour and a highly anticipated return to North America, OVO by Cirque du Soleil has undergone a full ‘metamorphosis’ under…
Beetlejuice, Beetlejuice… Beetlejuice! You’ve summoned him once again, Chicago— BEETLEJUICE is back for another hauntingly hilarious run! Broadway In Chicago announced that tickets…
Broadway In Chicago is delighted to announce that individual tickets for CLUE, the hilarious murder mystery comedy inspired by the Hasbro board game…
Chicago Shakespeare Theater (CST) announces renowned Chicago director Ron OJ Parson will helm the North American premiere of Lolita Chakrabarti's Hymn, making his CST directorial debut.…
I fondly recall watching the 1964 children’s television special Rudolph the Red-Nosed Reindeer each year with great wonder! Its message…
Trap Door Theatre is thrilled to continue its 31st season with a production of the renowned play, The Mannequins' Ball. Written by Bruno…
Upon entering the beautifully decorated lobby of Teatro Zinzanni theater on the 14th floor of the Cambria Hotel, you are…
Just as there are many Santa’s around town, this time of year we have a wide selection of Christmas and…
Today, Hubbard Street Dance Chicago (HSDC) unveiled the full program for the second performance series of its 2024/2025 season, Season 47: Winter Series.…
David Sedaris, author of the previous bestsellers Calypso, Naked, Me Talk Pretty One Day, Dress Your Family in Corduroy and Denim, and regular…
Hell in Handbag is pleased to host a special weekend of benefit performances during its upcoming 25th anniversary edition of Rudolph the Red-Hosed…
The Hip Hop Nutcracker has returned to Chicago by popular demand and is now playing at Broadway In Chicago’s CIBC Theatre…
[Reviewer’s Note: I’ve been reading a book whose main character is inveigled by Word of the Day; hence, I’ve striven…
Like a lot of people, Louisa May Alcott’s Little Women has been mostly a cultural curiosity for much of my…
There is something magical about Chicago at Christmastime. Even if there is no snow on the ground, there is an…
Does your theatre company want to connect with Buzz Center Stage or would you like to reach out and say "hello"? Message us through facebook or shoot us an email at This email address is being protected from spambots. You need JavaScript enabled to view it..
*This disclaimer informs readers that the views, thoughts, and opinions expressed in the text belong solely to the author, and not necessarily to Buzz Center Stage. Buzz Center Stage is a non-profit, volunteer-based platform that enables, and encourages, staff members to post their own honest thoughts on a particular production.