By Elaine Liner
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
In the theater even more than in the church, money is good works. To the philistine philanthropists who scribble tax-deductible checks for companies whose most challenging work will never be seen by the check-writers (or will be endured with a clenched, "I'm being cultured" grin), I tip my scoop hat. So do I acknowledge the folks who attend the Dallas Theater Center just uno de annum for A Christmas Carol--you know, those Plano and Richardson CEOs who've just authorized the layoff of 200 workers and come to DTC with their kids because the lesson of Scrooge's transformation is so important. They are helping make it possible for the rest of us, in the productions they don't attend, to pore through our lives and theirs via challenging theater.
Meanwhile, theater companies, who pride themselves on upturning the complacent foundation of our lives spadeful by spadeful, are in the uncomfortable position of giving the people what they want for this three-week run. If you want to know what it feels like to be a whore at Christmas, just ask a theater artist. Hell, even theater entertainers whose agenda is no deeper than making you laugh and cry and feel sated by curtain's downfall are apt to feel cheap and tawdry, going through the motions of seduction they're supposed to repeat to help finance the stuff they really want to do. Enforced holiday nostalgia really is prostitution, especially on the stage--the actor is suddenly expected to cough up an emotion that may not be honest or in the moment. Live performers are petitioned to do the work of movie actors in the video-rental realm--repeat, rewind, repeat, rewind that favorite moment for the audience.
Two very different Dallas theater companies--Dallas Children's Theater and Undermain Theatre--are about to enter the final weekend of holiday shows that have previously proven profitable. You'd expect the Dallas Children's Theater, which gets big city and corporate money and has established itself as a big hope for continuing the habit of theatergoing into future generations, to have perfected its Christmas offering--slyly and slickly dazzling attendants into purchasing that season subscription. Meanwhile, you might've thought that the way-out-there Undermain, which began 15 years ago and experienced a small conflict when co-artistic director Katherine Owens nixed the idea of getting a phone for their office (they now have a Web site), would be holding a holiday show an arm's length away from their own discerning nose. In fact, Undermain's show is a vivid romp by actors who appear to be having a sinfully good time, while the DCT show is faltering and robotic from the sense of duty that permeates the cast.
This brings me to an important point: How do you give a bad review to a show whose cast is mostly underage and whose intended audience also is? I have seen a handful of entertaining productions at Dallas Children's Theater--and a startlingly memorable one, the spine-tingling AIDS voyage The Yellow Boat--but have a curmudgeonly suspicion that simply by including the word "children" in their name, they get a disproportionate amount of support for their efforts. Isn't hiding behind the generic cause of children a favorite way for politicians and pundits to sneak in opposition to stuff of which they personally disapprove, but which is actually completely unrelated to kids? Well, the reverse must be true--all kinds of lazy platitudes can be justified in the name of children.
The Best Christmas Pageant Ever celebrates its decade anniversary this year as the Dallas Children's Theater December staple. It's difficult to pinpoint exactly where the blame lies for the spiritless Sunday-afternoon performance I attended (in the interest of disclosure, I missed the first 10 minutes): At various points, cast and script seemed to conspire to invoke this listless production about the most horrible children in the world, a clan of six soot-faced, dirty-mouthed (all that takes place offstage, of course) brothers and sisters named The Herdmans. They wind up crashing the church Christmas pageant, the direction of which is being taken over by Grace (Gail Willingham) because the snooty Mrs. Armstrong (Rosemary Kolbo) is hospitalized. But given that the Herdmans don't seem to have much to lose--a reference is made to the frequency with which child welfare comes to their home--they have a propensity for telling truths (like, say, pointing out that when the Bible says Mary was "great with child," it really means she was pregnant) that are, despite the attendant chaos, enlightening. And as the title reveals to us upon entering the theater, this will truly be...well, you can read.