Phoenix craftily regifts classic bits in annual Xmas show

By Wendy Carson

Welcome to North Pole University! The students and staff are all here to make sure you are up to speed and ready for the next semester. That is the framing conceit of this year’s installment of Phoenix Theatre’s A Very Phoenix Xmas, “Up to Snow Good.”

The cast members pose as different NPU characters in order to introduce the various scenes making up the show. Since this will be the final presentation in the current location, all of this year’s skits are glowing highlights from past shows.

While you may have seen all of the vignettes before, each one has been carefully reworked in a totally new way. In fact, my all-time favorite number, “The Baby,” has been transformed into an awesome puppet show and I feel that it is a far superior rendition to the original.

Also, since these shows have been going for over a decade, it is easy to forget some of them. “Les Miserabelves” is one such example. I had honestly forgotten the hilarity resulting from blending a certain Christmas classic with a French Revolutionary musical. Needless to say, it stands the test of time.

Devan Mathias’s tender take on “Hard Candy Christmas” is hauntingly beautiful especially as she slowly transforms into a her next skit’s character as she sings.

Paul Collier Hansen’s stirring portion of “Hallelujah Hallelujah” is pure sweet sadness with a tiny touch of hope.

Rob Johansen amazingly transforms from a hard-edged Private Eye in “Christmas Heat” to a sleek acrobat in “You Can Fly”.

Nathan Robbins gives a solemn turn in the sweetly insightful “A Requiem for Shermy,” with Gail Payne as another nearly-forgotten character, a scene which will leave you reassessing how you watch a certain popular Christmas classic.

These, along with Jean Arnold, Andrea Heiden and Carlos Medina Maldonado, are all such standout talents. And with such great material, under the direction of Phoenix boss Bryan Fonseca, they all work together so well without chewing the scenery or stealing scenes.

Given the Phoenix’s well-earned reputation for edgy and controversial fare, we’re happy to note that even with their tongue in cheek, there is nothing too over-the-top (though the creche catapult in the War on Christmas scene comes close).

So pull on your ugliest Christmas sweater, gather your loved ones and snuggle up at the Phoenix Theater, 749 N. Park Ave. in downtown Indy, with a spirited take on the holidays as we know them, on the main stage through Dec. 23. Get info and tickets at www.phoenixtheatre.org.

Review: Folk tales not so foreign as they seem

By John Lyle Belden

The Spanish word leyenda can be translated to mean legend; in the new play “Leyenda,” on the main stage of the Phoenix Theatre through May 1, the meaning is closer to folk or fairy tale.

This world premiere work was written by Phoenix playwright-in-residence Tom Horan with producing director Bryan Fonseca, using traditional Latino tales, each with its own moral.

Bridgette Richards plays a sort of Latina Scheherezade, telling a cruel ruler story after story to keep him from growing dissatisfied and killing her. To extend the drama (and her life) she doesn’t give the endings right away, leading to a layered narrative that is still easy to follow.

Richards and fellow cast members Jean Arnold, Paeton Chavis, A.J. Morrison and Keith Potts act out the stories with the help of colorful costumes, masks, some dancing and even puppetry.

The dialogue is best described as “Spanglish” – but with enough English mixed in for non-Spanish speakers to follow (one story, “Coazones de Fuego/Hearts of Fire,” is almost entirely in Spanish, but is mostly “told” in dance). One tale even features an English-speaker who struggles with Spanish, a welcome reflection of the audience’s possible difficulties.

This show is not only an excellent view into Latin American culture, but also a revelation of how universal some stories are, as we find aspects of tales we’ve heard from other sources, like Aesop or the Brothers Grimm. A few moments, like appearances of El Cucoy (the Bogeyman), get intense, but otherwise this play is good for all ages.

Performances are Thursdays through Sundays, and April 30 and May 1 shows will be entirely in Spanish. For more information and tickets, call 317-635-7529 or see phoenixtheatre.org.

(Also posted at The Word)