No humbug here

By MEGAN GRUMBLING  |  November 28, 2012

The script involves a lot of this meta-theatrical kind of thing: Caufield comes out of character to tell the audience about her research on Seasonal Affective Disorder; Sawyer leaves Caufield mid-scene to complain about his bit part; and the whole cast launches into a song about why "The Little Drummer Boy" might have been a better choice of story. That last bit is a little much, but in general, the self-reflexive banter is a fun and lively respite from the reverence of the usual holiday fare.

But Striking 12 is, of course, holiday fare, and its earnestness is in at least equal proportion to its humor. Unlike Scrooge, The Man's holiday ennui exists, in part, because he sees so much shallowness in the champagne-swigging first world. His embrace of the light despite that shallowness is the modern holiday miracle, and it's an embrace that many of us work hard to make, too.

STRIKING 12 | by Brendan Milburn, Rachel Sheinkin, and Valerie Vigoda | Directed by Brian P. Allen | Produced by Good Theater | at the St. Lawrence Arts Center, Portland | through December 9 | 207.885.5883

< prev  1  |  2  | 
  Topics: Theater , Phoebe Snow, Kelly Caufield, Good Theater,  More more >
| More

Most Popular
Share this entry with Delicious
  •   THE ELEPHANT IN THE ROOM  |  April 17, 2014
    Snowlion gets dark with a musical tragedy
  •   THE HYDROPHILIC LIFE  |  April 11, 2014
    The very winning world premiere of Underwaterguy , which Underwood both wrote and performs, runs now at Good Theater, under the direction of Cheryl King.
  •   THE PASSIONS OF PRIVATE LIVES  |  April 03, 2014
    Battle of the exes at Portland Players
  •   LEARNING TO HEAR, AND LISTEN  |  April 03, 2014
    The vicissitudes of identity and community are difficult negotiations in Nina Raine’s drama Tribes , dynamically directed by Christopher Grabowski for Portland Stage Company.
  •   THE DEAD DON'T LEAVE  |  March 28, 2014
    The complexity of familial love, regret, and shame, as seen between Charlie, who long ago moved to London, and his simple, sometimes confounding, working-class gardener father (Tony Reilly), are the crucible of Hugh Leonard’s Da .

 See all articles by: MEGAN GRUMBLING