By GLORIA MERRELL
A Seat on the Aisle
As my program was stolen, kissed, and handed back to me with a drag queen’s lipgloss mark in the very beginning of the show, I knew that I was likely going to leave a glowing review.
A (Happy) Holiday is a heartfelt, sensational production from Theatre Unchained, developed by local Indy writers Kaya (Kyle) Dorsch, J.E. Hibbard, Karina Cochran, and Max McCreary is currently showing at Theater at the Fort in Indianapolis. The program describes it as a “campy, genre-switching holiday show … filled with magic, music, and drag, while speaking truth to the pressures we feel during the ‘happiest’ season of all.”
I would describe it as something more than that: This performance is one that leaves you wanting to extend forgiveness, show compassion, and heal from anything dragging you down. Yes, there is a drag queen who uses Christmas carols to haunt the central family until they cave to the “Christmakkuh” spirit, but this show is also a work of art capable of truly transforming the viewer, and a stunning depiction of our cultural zeitgeist.
The play begins with the anthropomorphized version of serotonin (our brains’ happy chemical) stepping onstage in a drag look that pays homage to the ghost of Christmas present, which is exactly as riveting as it sounds. “Sarah” invites us to meet the Abrams family, three generations of women suffering from the recent loss of a father figure. The oldest of these is Barbara “Bunny” Abrams (performed by Wendy Brown), whose spunky and fun-loving nature is sure to keep the audience on their toes. Her daughter “Busy” (played by Jenni White) is the family’s “uptight” mother figure. Busy’s daughter Leigh is the family’s youngest member (played by Wilhelmena Dreyer) and is struggling to trust her mother enough to be emotionally vulnerable.
The family soon struggles as they find themselves reliving painful memories, finding that “healing” has no universal definition, and it can be difficult to break down the emotional barriers they have placed between themselves and others.
Sarah Tonin is played by Ariel Laukins. Sarah has been humanized in order to “heal” this family, and two elves work with her to assist them in this magical holiday journey. Laukins’ presence and glamour will enrapture you, helping to fully transport you into the world and spirit of the show.
Jenni White’s character as the mother was brought to life so eloquently that it genuinely shocked me to see her out of character after the show. Whether she was bitter, uptight, forgiving, or grief-stricken, it was impossible to miss the talent and depth she brought to the stage. Similarly, Wendy Brown, as Grandma, was a force of nature, delivering hilarious one-liners and often oozing with innuendo.
To me, Ms. Dreyer’s performance as daughter Leigh was the heart of the show. This character was a beautifully crafted representation of so many feelings and struggles that audience members may relate to, holiday season or otherwise. I spent much of last year watching my partner grieve the sudden loss of a father. I think one of the things that can be most difficult for a grieving individual is the feeling of isolation. This play does much to show how a family can come together and support one another throughout the mourning process, but I wanted to note one moment in particular: Dreyer walked onstage in an oversized jacket, shoved her face into it, and said, “Still smells like Dad.” The authenticity and vulnerability of Dreyer’s character shook me in this moment. I applaud the writers for including a detail that elucidates the little ways in which we hold onto the people we love, and I applaud Wilhelmena Dreyer for making this a meaningful and bittersweet moment for those in the audience that might have understood this feeling. Her performance was everything from delightful to gut-wrenching, and it would be difficult to see anyone else in this role.
Of course, I would be remiss not to mention Bradley Lowe, whose performance as Owen was both convincing and sincere as he gave a face to the idealized version of a loved one we may try to hold onto in grief.
And where would the show be if not for Sarah’s little helpers, played by Thomas Sebald and Anja Willis. Thomas blent seamlessly into every moment he was expected to change characters, always convincing and bursting with energy. Similarly, Anja brought delightful mischief to the stage and delivered my new favorite line of all-time: “Is your grandma single?”
Of course, this play would not have been the same without the technical assist of Sound Designer Oz Casile, who convincingly immersed the audience into the characters’ lives. Same goes for Lighting Designer & Board Operator Sue Kuehnhold, who used light color and timing in a way that further exacerbated the characters’ inner struggles, and wonderfully exaggerated the already hilarious character traits we saw throughout the two acts.
The set consists of a tragically barren home, effectively representing the emotional numbness and disdain brought about by grief. However, the Abrams family is quickly gifted a massive storybook, which brings a feeling of whimsy and holiday cheer to the stage. Accolades must be given to Director Max McCreary, whose blocking and direction brought this show to life in an unforgettable way.
The script is a seamless and miraculous blend of the writers’ experiences, struggles, and aspirations. It’s not every day you see an original show that surprises you with thorough entertainment, and it’s not every lifetime that it’s one of the best you’ve ever seen. This play is one-of-a-kind, and I’m grateful to the writers, cast, and crew for the love and heart they put into it. So if you’d like to see a murder confession, a sock puppet show, and a family beginning to acknowledge generational trauma to the tune of “Grandma got Ran Over by a Reindeer,” I would recommend getting your tickets now.
A (Happy) Holiday is presented by the Unchained Theatre at Theater at the Fort, 8920 Otis Ave., Indianapolis. The remaining dates are Dec. 4, 8, 9 and 10, with Thursday, Friday and Saturday shows at 7:30 p.m. and Sunday shows at 2 p.m. The runtime is 1 hour and 45 minutes with one 15-minute intermission.
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