Dallas Theater Center’s annual production of ‘A Christmas Carol’ for 2023. (Photos by Karen Almond)
Stage Notes is a weekly aggregate post about theater, classical music and stage news, events, reviews and other relevant information.
Stage Notes Calendar
Opening this week:
A Magical Cirque Christmas: A Holiday Variety Show, 7:30 p.m. today at Texas Trust CU Theatre.
Broadway at the Center: The Cher Show, today-Saturday at the Winspear, pictured.
Sammons Cabaret: Making Spirits Bright, 7:30 p.m. Friday at the Sammons Center.
Ballet North Texas: The Nutcracker, Friday-Sunday at Moody Performance Hall.
Plano Symphony Orchestra: Home for the Holidays, 4 p.m. Saturday at Memorial High School Frisco.
Cirque Musica Holiday Wonderland, Sunday at Will Rogers Auditorium.
Plano Symphony Orchestra: Home for the Holidays, 4 and 7:30 p.m. Sunday at Christ UMC.
Turtle Creek Chorale: Sing for Joy: A Celtic Holiday Celebration, Monday and Tuesday at the Meyerson.
Stomping Ground Comedy Theater: The Improvised Hallmark Christmas Movie, Friday-Dec. 23.
Broadway Dallas: Les Miserables, Wednesday-Dec. 31.
Onstage now:
Allen Contemporary Theatre: Irving Berlin’s White Christmas, through Sunday.
Art Centre Theatre: A Christmas Story, through Sunday.
Bishop Arts Theatre Center: Black Nativity, through Sunday.
Firehouse Theatre: Miracle on 34th Street, through Sunday.
Garland Civic Theatre: Puffs, through Sunday.
Grand Prairie Arts Council:Irving Berlin’s White Christmas, through Sunday.
Mesquite Arts Center: It’s a Wonderful Life: A Live Radio Play, through Sunday.
North Texas Performing Arts: Scrooge, the Musical, through Sunday at Willow Bend Center of the Arts.
Richardson Centre Theatre: It’s a Wonderful Life: A Live Radio Play, through Sunday.
Runway Theatre: The Lion in Winter, through Sunday.
Stage West: Poor Clare, through Sunday.
Stolen Shakespeare Guild: Emma, through Sunday.
Theatre Arlington: A Christmas Carol: The Radio Show, through Sunday, pictured.
Theatre Coppell: The Best Christmas Pageant Ever, through Sunday.
Theatre Denton: Irving Berlin’s White Christmas, through Sunday.
Texas Ballet Theater: The Nutcracker, through Dec. 24 at Bass Performance Hall.
Review: Stage West’s Poor Clare is a rich play that provokes audiences with food for thought
Kayland Jordan as the title character of Stage West’s ‘Poor Clare.’ (Photo by Evan Michael Woods)
Much of Poor Clare was unexpected outside of its portrayal of Saint Clare and the road she took to become the historic figure. The play was a study of family, of principles and of charity. The story centered on Clare’s shift from growing up affluent in Assisi to discovering her more philanthropic side that caused her to rethink her values and ultimately become the first follower of Francis of Assisi.
Heavy stuff it seems, but only, not.
Chira Atik’s play mixed a modern vernacular into an age-old story which gave it its charm. Clare and her sister Beatrice share funny banter as bickering teenage sisters, but also seem like they are about to check their phones for new messages or drop a TikTok. Likewise, Clare and her live-in help Alma and Peppa talk like gossip girls while they dress and set her hair for the day.
Kayland Jordan played Clare with lovely understanding. First, as a young woman who naively takes in her privileged world, but then as Clare discovered her sense of charity, Jordan’s voice and face shifted. As Clare dove deeper, Jordan gave her character a deep, heartfelt conviction that added a whole new layer to the character. The subtle transformation was striking.
Playing the younger sister, Bethany Mejorado stole all her scenes as the more entitled sibling. Her bratty, spoiled Beatrice was never off-putting as Mejorado also gave her a whimsical charm. Beatrice embraces her status, but also defends it and Mejorado made for a great contrast to her castmate sibling.
Danny Lovelle was delightful and earnest as Francis and had a lovely chemistry with Jordan. At times, he felt a bit too chummy as someone who gave up everything for his faith and lived a hard life. But the delicacy he played when Clare made a huge decision about her appearance was exquisite and tender.
Director Emily Scott Banks crafted a compelling stage production with Atik’s play. While never a comedy, she and the cast played up a lot of the comic undertones to keep the play buoyant. Never was this play about Saint Clare a heavy watch. The piece floated on humor and real-life conversations by an able cast and director.
Of particular note was Brian Clinnin’s magnificent set. A brilliantly multilayered set was a muted beiges, but it’s use of space was clever and eyecatching at all times. Aaron Patrick DeClerk’s costumes felt lush for the nobles while appropriately plain for the poor and in servitude.
Atik’s play did bring up questions of values and social status that resonate in today’s times. A nod to today in the show felt a bit melodramatic, but the philosophy and heart of Poor Clare was impressive and impactful.
The cast included Lisa Lloyd who dropped an elegant performance as Clare’s mother Ortolana, Tallulah Rogers and Laurel L. Collins as Alma and Peppa and Francisco Grifaldo in multiple roles.
Poor Clare runs through Sunday.
Review: A Christmas Carol steampunks its way into hearts at DTC
The tradition of this Charles Dickens classic at Dallas Theater Center is without fail in the local holiday to-dos. But DTC spares nothing in its annual production to deliver a riveting story. A Victorian steampunk-ish set, dramatic special effects and most important, a talented cast kept A Christmas Carol fresh and exciting no matter how many times one’s seen it.
Set in a factory where Ebenezer Scrooge oversees his tired employees, Beowulf Boritt’s scenic design was a wonder that filled the stage with smoky coldness that shifts into a holiday oasis. Jeff Croiter’s lighting evoked the feelings of darkness as Scrooge’s ghosts visit him but also delightful feels with lights filling the entire house. As musical director, Cody Dry and his orchestra played with a richness that gave reworked holiday carols a whole new life.
Directed by Alex Organ with choreography by Joel Ferrell, the show was well-oiled with spectacular dance and musical numbers but also with hefty drama. Highlights were certainly Bob Marley’s frightening entrance played with abandon by Sally Nystuen Vahle. A bewigged Randy Pearlman was wholeheartedly amusing as Mr. Fezziwig, a boss of Scrooge. Ivan Jasso had the square-jawed good guy vibes for his Bob Cratchit.
Playing the bad guy, Bob Hess’ Scrooge never felt inherently mean as much as he just seemed bothered. Hess’ humanity in the character was a surprise but also gave him room for Scrooge’s 180 on Christmas morning. The humor he brought to the role was refreshing and a riot. Hess had the ability to make this Scrooge likable and accessible when he shouldn’t be. The best part was that it worked.
A Christmas Carol plays through Dec. 30.
–Rich Lopez