“Holiday” reviewed by Al Bresloff with a 2nd opinion by Paul Lisnek

The play as adapted has been updated to include things that are far more into today’s world. A couple that is gay, “Alexa”, cell phones/texting, mention of “pickle-Ball” and many other modern day terms and parts of our lives. Under the direction  of Robert Falls on a set that is absolutely amazing ( Walt Spangler) we are privy into a world that most of us could only dream about. The play is in two acts with a complete set change from Act One to the opening of the second act, but the second act has two scenes and the curtain closes for a few minutes and then returns to the interior of the house and its living room. The audience could not help to applaud this miraculous change.

Back to the story. The rest of the Setons are Julia’s brother Ned ( an extraordinary character brought to life by Wesley Taylor), who is always somewhat drunk, but underneath this fog of a man, a mind that understands his family and their hearts better than anyone else. There is Linda Seton ( an extraordinary character created by Bryce Gangel), Julia’s younger sister, who despite living elsewhere, continues to come back to the family home for the luxury it brings her. Johnny finds her easy to speak with and confides a great deal in her, explaining his goal to make fast money and retire early. He has been working hard his entire life and has never basked in the luxury that he sees in this home.

The other cast members are Erik Hellman, Alejandra Escalante, Jessie Fisher, Christina Clark and Rammel Chan. This is a strong ensemble piece as each character takes part in bringing the entire story to life. I am always cautious about giving the story away as it takes some wonderful twists and turns along the course of Johnny and Julia getting engaged.

Act Two begins with a New Year’s Eve party going on IN the house, while the action is taking place in a playroom ( it appears to be an attic converted to the kids playroom with a wonderful array of toys, furniture and items that must have made the props people crazy). It is in this scene where we see the story take a turn that you will understand, and I for one was happy that it did what it did. (‘Nuff said!)

The tech aspects of this production ( as always) were perfect. In addition to the marvelous set, the costumes ( Kaye Voyce), lighting (Amith Chanrashaker), Sound design and composer (Richard Woodbury) and intimacy/waltz consultant/choreographer (Toranika Washington) were all top notch. The Goodman has been around  100 years, and for all those years, they have been an important part of the Chicago Theatre scene. Back in the 1960’s, I attended school there ( when it was part of the Art Institute) and was fortunate to have worked with some brilliant instructors, directors and actors.  That was 60 years ago ( plus) and I am always impressed with what they bring to their stages. This one is one that should be on your “Must See!” list.

ENHANCED AND ACCESSIBLE PERFORMANCES

2/20 7:30 p.m. ASL-Interpreted

2/21 at 2 p.m. ( touch-tour at 12:30 p.m.)  Audio-Described

2/21 at 7 p.m. Spanish translated/subtitled

2/22 at 2 p.m. Open-Captioned

REVIEW: Holiday at Goodman Theatre

BY:

Paul Lisnek, Behind the Curtain, WGN+/ WGNRadio.com

****/4

“Holiday” is the joyful surprise of the theater season and more enjoyable than a week’s worth of Hallmark movies! It’s a sharp, charming, sophisticated, and instant classic. This adaptation by Richard Greenberg of the Philip Barry original play (from 1928) has the sense of a classic screwball comedy, but infuses it with a warmth of character and a contemporary voice that will have you connecting with the glitter and glamour of an old time wealthy family struggling present day with its very roots.

The text is smart with stinging jokes and a sharp rhythm that Greenberg Fans (ex: “Take Me Out”) will appreciate as serving the characters rather than being clever for its own sake; The Albert Theatre allows this production to come to life; the massive backdrop and sets provides the necessary richness and depth we expect to see in an upper east side mansion. It’s a stage where alcohol supported conversations can quietly turn into pivotal, life‑altering choices, reinforcing the play’s exploration of class, freedom, and fulfillment.

Holiday balances serious questions of professional and personal ambition and privilege which, by the end of the play, will have you redefining perhaps what it means to live a life that is both happy and satisfying.

Robert Falls returns to his long time home to masterfully direct sharp dialogue with confident characters and with exactly the right tempo, timing….he lets this work breathe and maintain a pace that never lowers the temperature.

This nearly 100 year old play runs as a contemporary and even “new” work, but infused with a sense of the Gilded Age, and characters who are never allowed to forget from whence they came. There was a risk this play could appear to be a museum or nostalgic piece (knowing its history included the film version starring Cary Grant and Katherine Hepburn,)  but Falls refuses to lean into the nostalgia; he allows the funny dialogue to breathe and each character to have their own distinct and conflicting personalities that play well today.

These characters openly wrestle with whether life should orbit around work or vice versa, and that internal struggle gives the show its powerful emotional weight that will stay with you long after you leave the theater.

If you enjoy romantic comedies that actually have something to say—and you like holiday flavored entertainment with a bit of bite, then Holiday at Goodman Theatre is a richly rewarding, must‑see night out.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Holiday”.