by Rikki Lee Travolta
Sometimes in the world of targeting the child demographic, companies will license the latest trend and repackage it in various formats. That’s how you end up with Hot Wheels cereal and Harry Potter jellybeans.
I remember as a child getting a box of Smurf Berry Crunch cereal strictly because I had been sucked in by the marketing. I liked watching the Smurf cartoons, so therefore the cereal must be good too – at least that’s what advertisers had been paid to convince small children like me of.
As anyone who has ever had Mr. T cereal, C3PO cereal, Barbie cereal, or Baby Shark cereal can attest – it doesn’t appear that a lot of thought goes into how gimmick cereals taste. A great deal of detail goes into the picture on the cereal box though. That’s for sure.
Kids are also a great target for theatrical producers. A great kids show is usually going to draw not only children, but at least one parent or guardian of some kind. If the show happens to be appealing to the whole family – all the better. It’s just good business.
I would argue that there is a distinct difference between children’s theatre and family theatre. Children’s theatre I would classify as that geared specifically at kids. All the jokes and all the lessons are for little ones. Family theatre is what I term theatre that has entertainment value for all members of the family. Kids and their parents should both have a good time. Nor do adults even have to have child chaperones to enjoy family theatre. If it’s done right, it’s just good theatre – period.
My son just graduated from high school. When he was around five years old, I took him to a live stage musical based on a popular cartoon. Out of professional respect, I won’t mention the name. But, suffice it to say, it was awful – by his standards as a child and mine as a bigger child. The story was clearly written by someone who had never seen the cartoon. The songs were generic. The performers had painful looks in their eyes, as if to admit they were fully aware that there wasn’t one redeeming factor to what they were performing. But the costumes were pretty, and the poster looked good. Like the pretty cereal box, that’s what was apparently important.
It is that kind of thrown-together for a quick-profit type of entertainment that gives children’s and family programming a bad rap. Some people forget how incredibly effective, moving, and enthralling children’s and family entertainment can be. Just think about “The Lion King”. Whether you are talking about Disney movie or the Julie Taymor Broadway adaptation, that is a title that all ages appreciate.
Jim Henson was a visionary in both children’s programming and family programming. My formative years were spent under the heavy influence of “Sesame Street”. I then grew up addicted to the Muppets.
Sadly, Jim Henson passed away in 1990 at the age of 53. However, his work lives on through The Jim Henson Company. Led by his children, the company has continued to do fantastic work in puppetry, animatronics, and digital animation. Brian Henson’s “Muppet Treasure Island” and “Muppet Christmas Carol” are two favorites in my household to this day.
“Emmet Otter’s Jug-Band Christmas” had its initial incarnation as a children’s book by Russell Hoban, originally published in 1971 by Parents’ Magazine Press. In 1977, Jim Henson directed a television special adaptation of the story for Canadian Broadcast Corporation Television (CBC TV). It premiered in the U.S. on HBO in 1978 and then had subsequent showings on ABC and Nickelodeon in the 1990s.
The holiday story focuses on Emmet Otter and his mother Ma Otter. They are poor folk living in Waterville, barely getting by since Pa Otter passed away. When a talent contest is announced in town, Emmet decides to enter with his jug-band in hopes of using the prize money to buy his mother a piano. Unbeknownst to Emmet, his mother also plans to enter the contest. She wants to use the prize money to get Emmet his first ever store-bought Christmas present – a new guitar from Mrs. Mink’s music store.
In 2008, the Jim Henson Company entered into a partnership with iTheatrics to develop a stage musical based on the 1977 television movie. The book was written by Timothy Allen McDonald and Christopher Gattelli. Paul Williams, who had composed the songs for the television special, wrote additional material to flush out the show.
A new mounting of that theatrical adaptation is now making its Chicago debut at the Studebaker Theater at the Fine Arts Building at 410 South Michigan Avenue. Running through December 31st, “Emmet Otter’s Jug-Band Christmas” is an absolute treasure.
This is no mish-mashed attempt at children’s theatre. Jim Henson Company and iTheatrics have clearly made quality a top priority in creating a wonderful family-friendly entertainment experience.
Williams is an Oscar, Grammy, and Golden Globe-winning composer whose “The Rainbow Connection” and “Evergreen” are among the American Film Institute’s List of Top Movie Songs of All Time. And his pedigree shows in this stage musical. There are plenty of playful songs that have the same kind of bouncing fun quality he created with “The Muppet Movie” and “Bugsy Malone”. There are also sentimental ballads that are truly touching.
Book creators McDonald and Gattelli are both forces in the industry. McDonald’s librettist credits include “Rhoald Dahl’s James and the Giant Peach”, “The Book Thief”, “Between the Lines”, and “Roald Dahl’s Willy Wonka”. Gattelli, who also helms this production, is a Tony-winning director/choreographer whose credits include “Newsies”, “The King and I”, “SpongeBob the Musical”, “My Fair Lady”, and “South Pacific”.
Those aren’t the only heavyweights that helped create the world of Waterville where the story takes place. The creative set that allows for both people and puppets is designed by three-time Tony-nominee Anna Louizos (“In the Heights”, “High Fidelity”, and “The Mystery of Edwin Drood”). The splendid costumes come from the mind of two-time Tony-winner Gregg Barnes (“Follies” and “The Drowsy Chaperone”). Lighting design is by Tony-nominee Jen Schriever, and sound design is by Emmy Award-winner Matt Kraus. Makeup and hair coordination is by Megan E. Pirtle.
Children will be thrilled seeing live puppetry onstage, where it is just as magical as it is on television and in the movies. Bringing the magic to life are puppeteers Jordan Brownlee, Matthew Furtado, Anney Ozar, James Silson, and David Stephens. They are all incredible – often doubling as onstage characters without missing a beat of their puppeteering and voice duties. Adults will be just as enthralled – because it really is cool to let yourself get lost in a world of talking googly-eyed animals that interact seamlessly with humanized animals.
The whole family will love the singing and dancing. The Williams score has a little bit of something for everyone. There are country songs that Dolly Parton fans will love. There’s rock music from the Riverbottom Nightmare Band. There are silly squirrel songs and a torch song too. There’s even a song featuring the voice of the celebrated composer himself in an endearing vocal cameo.
In terms of the onstage cast, the producers have not cut any corners. They’ve brought in true stars capable of captivating the hearts of children and adults alike.
Andy Mientus is just what a show needs to be successful. He’s got a charming smile, a twinkle in his eye, and a golden voice. He is a wonderfully gifted actor and singer who audiences will recognize from such hit television shows as “Smash” and “The Flash”. His Emmet Otter is a character that kids will easily identify with and root for. He has that likeability factor that can’t be taught.
Kathleen Elizabeth Monteleone is another respected name that adds to the clout of “Emmet Otter’s Jug-Band Christmas” in the role of Ma Otter. She is recognized for her appearance on television in “GREASE: You’re the One That I Want”, on Broadway in “Hands on a Hardbody”, and in the national tour of “Legally Blonde: The Musical”. She has a beautiful voice and an inner glow that will inspire any child to smile.
Kevin Covert plays Mayor Fox who, as the master of ceremonies for the talent show, has some wonderful reactions to the various levels of talent of the competitors. Covert’s comic timing is impeccable and translates to all ages. Other townsfolk include Sharriese Hamilton as Mrs. Mink, Emily Rohm as Gretchen Fox, and Sawyer Smith as Madame Squirrel – all of whom have that special sparkle that makes for a magical experience for everyone in the audience.
Rounding out the jug-band with Emmet are Steven Huyn as Wendell Porcupine, Ben Mathew as Harvey Beaver, and Nick Cearley as Charlie Muskrat. They shine bright and do Jim Henson proud. The cast also includes Leah Morrow in a chorus and swing role, and Adam Fane understudying a number of characters.
Gattelli’s direction and choreography show a respect for the material and a respect for the audience. He gives the audience a show that lets you cheer for your favorite characters and be dazzled by lively and fun song and dance numbers. Of course, the creations of Jim Henson’s Creature Shop and the talented Muppeteers are perfectly incorporated for an all-around phenomenal time.
Children and adults will love “Emmet Otter’s Jug-Band Christmas” at the Studebaker Theater. It’s fun for the whole family. I can only hope that “Emmet Otter” becomes a holiday tradition. We need more feel-good shows like this.
For tickets contact the Studebaker Theatre box office at: fineartsbuilding.com/studebaker/ or (312) 753-3210. Family-friendly pricing is available. Group reservations (8 or more people) are currently available through Group Tix and Tours at www.grouptixandtours.com.
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