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Northern Foreclosure: All I Want for Christmas Are My Front Door Keys

Sketches show hard times hitting even Santa.

centerstage reviewed this performanceReviewed by Centerstage!Go Chicago!

Venue:
Gorilla Tango Theatre
1919 N Milwaukee Ave.
Chicago, IL 60647 Map This Place!Map it
Cost:
$12
Tickets:
Call (773) 598-4549 or buy online at www.gorillatango.com

Company
Shantz Theatre

Styles

Related Info:
Official website

Performances
Runs December 5, 2008-December 21, 2008

Friday10 p.m.
Saturday10 p.m.
Sunday7 p.m.

reviewed performanceCenterstage Show Review
Reviewer: John Biederman
Tuesday Dec 09, 2008

In lean times, a holiday comedy show is just the thing to escape from dreary reality. But there’s much competition in that niche and Shantz Theatre’s "Northern Foreclosure (All I Want for Christmas are My Front Door Keys)" is below par—although it has promise, especially if kinks are ironed out.

The show revolves around the recurring theme of Santa’s workshop facing foreclosure (and hard holiday times in general). What does work in the show works exceptionally. A bit about Christmas carolers harassing Jehovah's Witnesses is brilliant, as is one about a man obsessed with his Santa-costume "semi-boots," or faux boots worn over shoes. ("They're boots...then they're not!”)

Other sketches show promise, but aren't sold by the cast. One seemed to be a parody of those omnipresent TV commercials with the baby trading online, but it was hard to tell. Not only did trouper Scott Hogan drop the ball in execution/annunciation, but little was done, costume-wise, to help. And this is a show that lists a "costume designer" in the credits while not even furnishing a beard for Santa. (Especially in low-budget shows, little—and cheap—details can go a long way.) This is a rare sketch/improv offering receiving Illinois Arts Council funding, but it sure wasn’t spent on costumes.

Leslie Nesbit is the one stand-out among the performers. (The show also features Vicki Kunz, Mark Logsdon, Kenny Metroff, Jess Murdoch, Pete Parsons and Katie Thomas; and is co-written by all performers.) Most, if not all, had shining moments. Perhaps the problem lies in the directing (Metroff).

Questionable directing aside, there are some problems with the writing. Tired themes, such as Jews being left out of the Christmas festivities and over-reaching attempts at political correctness to accommodate all seasonal beliefs. (Overworked themes can still be mined for comedy gold, but they're not here.) And a Christmas special featuring Katherine Hepburn and Ethel Merman seem only "relevant" because its two performers do good impressions of them.

Other than these script flaws, the writing isn't the biggest problem. There are some gems—and more waiting to be unleashed—so here's hoping the execution improves as its run unwinds. Otherwise, as a holiday gift, it's sometimes like a new car—but often like an unwanted fruitcake.

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