Frederick News-Post
December 15, 2011
It is a series of eight authentic, sometimes poignant, monologues that explore, among other issues, coverups and our need to idolize and believe what we want to believe. As an indicator of the weight of the material, the show premiered simultaneously in Washington at Source Theatre and Adobe Theatre Company in New York and is currently playing in over 25 theaters in the U.S. Goode, author of over 30 plays, was named Playwright of the Year in 2006 by Broadway Play Publishing.
So here's the upshot, without trying to reveal too much. The elite band of reindeer who pull the sleigh appear, one at a time, to testify in the matter of allegations of sexual assault perpetrated by the jolly old elf himself upon one of the team. Each monologue paints an increasingly dark picture of life, and it wasn't too far in that I had to ask myself if we were witnessing a trial of Santa, or was Santa a metaphor for all those things we mindlessly believe in the world.
The monologues take a unbelievably mean idea -- what if, instead of being a jolly fat man, Santa Claus was a bad guy? Think Penn State/Catholic clergy kind of bad guy -- and turns it into a funny but thought-provoking play. "Not possible" goes so much of the testimony from the eight, and yet eventually it seems there might be something to what is alleged. But no! This is SANTA CLAUS! How could it be? It caused me to think about what other unimaginable things might be real (or not real). What if a U.S. election was actually stolen? What if there was U.S. government involvement in 9/11 or other historical events. What if Wonder Bread doesn't actually help build strong bodies 12 ways? In fact, what if the stuff kills you?
A raucous group of reindeer makes their way around the world a few times on a practice run through the theater, then settle in around the North Pole bar for the beginning of the stories. Kudos to the scenics department for the simple but effective device of clouds which clearly created a "down there" and an "up here." Oh wait, the North Pole is on Earth. Isn't it God who's the big nice man on a throne, who can see everything, lives "up there," knows if we've been naughty or nice and rewards us if we're good?
Actor Tim Seltzer makes his directing debut at the MET with a first-rate cast including well-cast Larry Fellows, whose cocksure Dasher begins things. His claim that he's proud to lead the team (except one, foggy Christmas Eve) and willingness to pay whatever price it takes to do so -- "It's what you do" -- epitomized his working-class ethic.
Justin Johnson plays Cupid "the only openly gay reindeer" and clues us in to the darker side of Mrs. Claus. He sets things up nicely for the introduction of hyper-verbal and egotistical "Hollywood" -- better known to us as Prancer, brought to life by ensemble member Matt Lee, strutting across the stage griping about his next movie.
With authentic tears in her eyes, Courtney McLaughlin was a marvel in her role, choosing a modern Blanche DuBois turn on Blitzen. She generally offered the most intelligent discussion of sexual violence and the potential psychological fallout, asking the question which is so important in the case of too many of today's headlines but which must be asked in all cases of allegations of sexual violence: "Why would Vixen lie?" I look forward to seeing her in roles that are more substantial in the future.
The following two characters I particularly liked. Lisa Seltzer impressed me with her Comet, whose defense of Saint Nick rings false and is what lead me to reference Wonder Bread, a because-I'm-your-mother-and-I-said-so sort of brainwash; the notion that some things are so monumental, so real, so unshakable, that it's impossible to try to change beliefs about them. After all, the world is still flat, isn't it?
Caitlyn Joy as Dancer ruled the stage the moment her piece began. Nicely written and performed, it's no surprise that Dancer's monologue from "The Eight" can be found in the Best Women's Stage Monologues of 1995. Juicy stuff.
Eric Jones is Rudolph's father, Donner. All I can say is "You weak bastard, how could you?" This is testament enough about Jones' work.
Donner's monologue leads us to the MET's Julie Herber as defiant victim Vixen, giving her account of the rape and its consequences. Tears in my eyes this time; well done Julie.
The monologues built up in quality and intensity to the very end. This is not light fare and is not appropriate for children. For audience looking for family-oriented fun this holiday season, the MET's annual production of "A Christmas Carol" is returning to the Weinberg Center this weekend.
The production team includes Tad Janes (set), Doug Grove (lighting), Ashley Hall (costumes), Lisa Burl (props designer) and Ken Poisson (Sound). "The Eight: Reindeer Monologues" runs through Dec. 30 at the Maryland Ensemble Theatre, 31 W. Patrick St., Frederick. For more information, call 301-694-4744 or go to www.marylandensemble.org.