A Flat Rock Playhouse Christmas

Edwin Arnaudin: Well, Mr. Hollywood, you're missed on the local theater review front. But it's great to have you back each Thanksgiving for A Flat Rock Playhouse Christmas.

As someone who's been attending since its inception, what stands out to you most about this year's version?

Bruce Steele: I think this may be the most fun-loving edition of the Playhouse's annual treasure. It starts with a couple of upbeat pop-Christmas classics — Paul McCartney's "Wonderful Christmastime," featuring the whole cast, followed by a smile-inducing rendition of Chuck Berry's "Run, Rudolph, Run" (with Patrick Dinnsen on vocals and guitar) — and two songs later kicks into an even higher gear of gaiety with "The Happy Elf" (with J. Taylor Wright having a ball as the title character).

You and our faithful readers will know that nothing makes me happier than the talented troupe from Pat's School of Dance, so I was overjoyed by their ecstatic tap-dancing in elf outfits. The very definition of Christmas fun. What made you smile the most?

Edwin: Any time the McCartney number isn't derided is a plus, but for overall smiles it's tough to beat Kathleen Watson's hilarious "My Simple Christmas Wish" and a revised take on The Chipmunks' "Christmas, Don't Be Late" from Wright, Amanda Tong, and Maddie Franke. The latter song was a repetitive misfire in the 2021 edition but takes on new life here with some, er, method acting.

I was also impressed by other selections that stretched the performers' range, including a hip-hop "Up on the Housetop" (complete with my favorite Pat's dance routine). I know we both avoid looking at the program beforehand to achieve maximum surprise but did any other choices strike you as particularly unusual?

Bruce: There were several lesser-known tunes, but all well-chosen and winningly staged. The Act I closer, "Sparklejollytwinklejingley" — which you correctly recalled was from Elf: The Musical — was new to me but quite a hoot.

There were also interesting new takes on the familiar, such as percussionist Paul Babelay's jaw-dropping vibraphone solo version of "Have Yourself a Merry Little Christmas" and, later, "The Nuttycracker Suite," featuring all three onstage musicians: Babelay, guitarist Ryan Guerra, and pianist/conductor/musical director/show co-director Ethan Anderson.

Edwin: When Brandon Keith Rogers — my pick for best male vocalist of the show — introduced Babelay, he sadly omitted that the percussionist’s vibraphone’s name is Eunice, which was something usual host Scott Treadway made sure to interject. Mr. Flat Rock Playhouse is occupied with Jeeves Takes a Bow at NC Stage Co. during A Flat Rock Christmas’ run but manages to make a fun pre-recorded cameo, part of Jeb Purcell’s sharp digital projection work that nicely complements the action onstage without being overly showy.

Bruce: Speaking of the directing, I thought Anderson and the other two show directors — Lisa K. Bryant and choreographer Lauren Hopkins — did a great job of keeping things lively and focused but they cheated the band out of the spotlight a few times. The (lovely, as always) Flat Rock Playhouse Chorus was arranged in front of the instrumental trio during some solo moments, and Guerra's beautiful violin work on "Away in a Manger" should have been brought out to share centerstage with vocalist Watson. Do you have any backseat "notes" you'd like to share?

Edwin: Besides some sort of etiquette reminder that might have limited a nearby preteen to one instance of shouting out her friends’ names in the Pat’s ensemble to one song instead of five?

Not really. Following the timely, informative, and entertaining “8 Days of Hanukkah,” the energy lags a bit in the show’s final stretch, favoring slower, more reverential tunes on the way to solid finale “Joy to the World.” Anderson & Co. are wise to send attendees out with a classic, nostalgia-rich number, even though I did miss the fake snow majesty of “White Christmas” we’re accustomed to seeing.

Otherwise, the direction nicely spotlights Gabriela Gomez’s pop-friendly vocals and stage presence on the likes of Act II opener “All I Want for Christmas is You,” keeping her the focal point despite the full ensemble surrounding her. Fellow FRP Christmas newcomer Galloway Stevens likewise shines in "Christmas Dreaming" and the production benefits any time Dinnsen’s guitar is featured.

Bruce: Stevens — or should I just say "Galloway," as he introduces himself? — provides resonant vocal gravitas more than once, and he can execute some mean dance moves as well. In fact, the whole cast hoofs it expertly, as Hopkins' choreography is consistently entertaining and well matched to the various permutations of the eight-performer ensemble. (The Pat's kids' sprightly dances moves are by Pat Shepherd, Sheraton Phillips, Dustin Phillips, and Brittany Roland.) There's no featured dance couple as there has been in years past, so everyone pitches in.

I'd also like to give a shout out to Ashlii Crump's countless and classy costumes, which evolve from casual winterwear to formalwear with a couple other stops along the way. Tong's shimmering gown in Act II was like its own special effect, as if a sparkling galaxy had been woven into fabric. Indeed, so many people contributed their talents to this FRP Christmas. I can only encourage theatergoers to read their programs: three directors, a fistful of designers, 35 choristers, 20 Pat's dancers (plus six understudies), a production crew of two dozen... I hope Santa remembers each and every one of them.

A Flat Rock Playhouse Christmas runs through Thursday, Dec. 21. For details and tickets, visit FlatRockPlayhouse.org.

(Photos by Jeb Purcell)