Whether celebrating the traditional or the obscure, “A City Lit Christmas” proudly shines a new light upon holiday theatrics. In fact, by intertwining the talents of Edna Ferber, Mark Twain and others with the mysterious presence of radio hero The Shadow, City Lit treats us to a show filled with all the joy, bittersweet melancholy and anticipation of the holiday season.
Director and adapter Terry McCabe is even able to put a new spin on O. Henry’s maudlin work horse “The Gift of the Magi.” All those who groan at the thought of being reintroduced to this oft-told tale of love and sacrifice will be surprised and delighted at the snappy, unsentimental treatment it is given here. Presented with the rhythm of a 1920s gum-chewing chorine, this version zips by with a jazz beat and truly brings the heart-filled meaning of the story to the fore.
Further success is achieved with Ferber’s sassily toned “Catching Up with Christmas.” This story features one of Ms. Ferber’s most popular heroines, traveling saleswoman Emma McChesney. The droll, hard-working McChesney is brought to life with arched perfection by actress Melanie Esplin. Esplin brings out the subtle undercurrents of this tale of dashed hopes and unexpected revelation. Most importantly, she helps remind us how witty writing can truly make itself at home, both, on the page and on the stage.
All four performers shine as they recreate the atmospherics of a live radio broadcast in “A Gift of Murder.” This story featuring The Shadow, the mysterious stranger who frightens villains into confessing their sins, provides over-the-top dramatics and gives the multi-talented cast plenty of room to shine. Meghan Martinez and Brandon Zale particularly seem to enjoy the various vocal challenges and rapid timing that is a necessity in bringing out the essence of their multiple characters.
As for the musical interludes, Thomas Shea transforms a vocally buoyant version of the traditional “The One Horse Open Sleigh” with his comical asides. “Miss Fogarty’s Christmas Cake” is given a multi-instrumental, go-for-broke treatment by all four. The enthusiastic delivery and humorous lyrics make it an evening highlight.
Esplin and Martinez also give a rousing salute to “Santa Claus—A Syncopated Christmas Song.” This delightful, recently unearthed Irving Berlin number is given its Chicago performance premiere here. On the other hand, the cast’s voices do strain a bit on Kingsley Day’s awkwardly pitched “I Remember Christmas.” They soon correct this flaw, though, and end the number with beautiful heart and bravado.
Branimira Ivanova’s classically simple costumes and Stephen Murray’s subdued lighting also help carry the evening’s overall warm tone. Their work not only complements the performers, but imbues the photographstrewn, red velvet-embossed set with a dramatic richness.
Ultimately, the efforts of all involved produce an evening that is sure, as the performers intone in the opening moments, to drive the cold winter away.