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Holiday treats are often overly sweet and holiday entertainments often swerve into stereotypes but The Carols at Carnegie Stage serves up the right potpourri of story, talent, rhymes, schemes, and timeless wisdom. Circa wartime 1944, this bright and innovative musical emulates the best of 20th century classics like White Christmas and It’s a Wonderful Life through the lens of this century. The Carols rings true artistically and historically.
Under the co-direction of Erika Cuenca and Robyne Parrish (who staged the original 2017 production for Carnegie Stage), a talented cast of six energetically banters, sings, and dances its way from a theatrical crisis through opening night.
The home-front in Picatinny, New Jersey is short on men for the annual production of A Christmas Carol at the VFW Hall. The Carol sisters entertain there under the stern eye of VFW manager Miss Betty. When a traveling stranger answers their call for actors, they cast a Catskills comic who can sing and dance a little to their troupe.
This twist on all the holiday stories you have already heard is terrifically fresh and entertaining.
Jennifer Childs’ book and lyrics are thoughtful yet fun. Monica Stephenson’s music doesn’t miss a beat with a fresh sound that’s competitive with other new shows. The lyrics are devilishly clever and the tunes singable.The writers are imaginative, deal out some very delovely rhymes, and imbue the story with deeper relevance without the schmaltz. They stir up the best of Dickens with dashes of Americana, big band harmonies, and lots of respect for what matters most. The writers are keenly aware of history, subtly reminding the audience of the realities of the wartime era. The thing is, The Carols takes some winning risks.
Stand out moments are about both story and songs, including when Miss Betty’s past is revealed and the future fortunes of the sisters are told. There’s an amazing “you say tote, I say schlepp” kind of number that surprisingly lists about every Yiddish word you’ve ever heard and more. It’s a classic in the making. Overall, the numbers are filled with surprising and well-executed turns that don’t fall into trite traps but instead pave some new ground.
There’s no disappointment here: This spunky little show aims to please and merrily delivers.The Carols deserves to be a new classic to feature strong female cast members like those now at Carnegie Stage.
(L to R) Moira Quiqley, Elizabeth Boyke, Marc Moritz, Beth Johnstone Bush, Mandie Russak
Moira Quigley’s Lily is the narrator, guiding her memories into a telling she admits is tweaked each time she repeats while never leaving out what really matters. Quigley is wry and wise, connecting the scenes with her character’s insight and personal take on her sisters and small town life which includes her factory job. Her performance is the glue, keeping the holiday spirit of the piece vibrant with punctuation by real life ironies. She is a delight to watch.
Elizabeth Boyke is Silvia, the sister who yearns to shake the dust of their little town and make a difference in the Nation’s Capital. Passionate about doing what’s good and right, she invites First Lady Eleanor Roosevelt to the show. Boyke is plunky and brings a stalwart spirit to her role.
Mandie Russak charms as Rose, the sister with delightfully askew word pronunciations and an over-the top “can do” attitude. An adept comedienne, she manages to push the envelope while not going over the top for the sake of laughs. Her performance is thus spot on–evoking empathy and joy, especially when she eyes the eligible soldiers attending the show. Russak also choreographed the show with just the right balance of dance and movement on the cozy stage.
Beth Johnstone Bush layers curmudgeon traits over a heart of gold as Miss Betty, stepping out and crooning with the best of the bunch. Bush’s Betty takes an unexpected journey through her back story and reluctant participation in the Christmas show. When the doomed pageant carries on, Bush displays some delightful moments and top notes.
As Melvin Shaatz, Marc Moritz is spot on as the unexpected stranger who saves the show. A stage veteran, Moritz sparkles in every respect from Vaudevillian chutzpah to showbiz shmaltz. He’s a mensch, so it’s challenging not to resort to Yiddish or conjure the Catskills comedians.
All three sisters are accomplished singers and the score provides ample opportunities for tight harmonies and solo work. Quigley shines with Bush on their lament about the holiday spirit and every cast member displays their chops in a surprising range of song and dance numbers.
Music Director Doug Levine is the limping Teddy at the piano and providing accompaniment throughout. It’s fun to see the popular arranger and conductor in a role while also providing the music base.
Adrienne Fischer’s set fills the playing space with colorfully authentic details. Her VFW hall is replete with inspirational wartime posters and a quaint stage. An upstage upright piano is central to the action. The folding chairs, a memorial flag, and floor radio (just like one my parents had) all evoke those places community members and veterans have gathered for decades throughout the US.
Costumes by Kim Brown and props by Kim Crawford suit the era and the quirky details of the show-within-the-show. From 1940s wardrobe and Lily’s “Rosie the Riveter” day job ensemble to colorful calypso costumes, the apparel also sings!
Vintage tunes are part of the soundtrack from Shannon Knapp, sound designer.
Unless you have a heart of stone, there is no reason to resist The Carols. Get some friends or family members and get to Carnegie Stage for a charming and appropriately sentimental journey. And you will enjoy telling others what they missed!
The Carols runs through Dec. 14 at Carnegie Stage with a variety of curtain times and days. Tickets online are recommended as the house is around 80 seats and bound to sell out. Don’t wait to consult the website or call 724-873-3576 and choose a date. Your own date for The Carols will be glad you did.
Photography Credit: Heather Mull
Yvonne Hudson, a Pittsburgh-based writer, publicist, actor, and singer, joined PITR as a writer and adviser in February 2016. She began performing and writing during high school in Indiana, PA. The Point Park journalism grad credits her Globe editor for first assigning her to review a play. Yvonne is grateful to Dr. Attilio Favorini for master’s studies at Pitt Theatre Arts, work at Three Rivers Shakespeare Festival, and believing in her Shakespearean journey. When not working with nonprofits, this lifelong chorister sings with Calvary UM Church’s annual Messiah choir. Having played Juliet’s Nurse for Pittsburgh Shakespeare in the Parks, Yvonne is now seen in her solo shows, Mrs Shakespeare and Emily Dickinson: The Poet Lights the Lamp. Goals: See all of Shakespeare’s plays in production and memorize more Sonnets. Fave quotes: “Good deed in a naughty world,” “Attention must be paid,” and “A handbag?” Twitter @msshakespeare Facebook: PoetsCornerPittsburgh LinkedIn
Categories: Archived Reviews