December 12, 1995 |
The Alternative Repertory Theatre is offering a new Christmas production this year in place of "A Christmas Memory," its six-year staple by Truman Capote. "Kringle's Window," by Mark Medoff, is a feel-good fantasy about the existence of Santa Claus that probably will please the little ones. But if you're a grown-up looking for a touching tale to spark the spirit of the season, this will leave you cold as an unlit Yule log.
December 8, 1992 |
Even the most hardened of Scrooges would have to be softened by "A Christmas Memory," Truman Capote's wrenchingly personal account of his boyhood bond with his colorful Aunt Sook. As staged by the Alternative Repertory Theatre, it's a simple, moving, whimsical touchstone for the heart of the holidays. Director Joel T. Cotter and his actors, Lee Clark and Barabara Sorenson, bring great warmth to the production, a staged reading of Capote's short story complete with scripts in hand.
December 17, 1993 |
Unless you are Gore Vidal, for whom Truman Capote could do no right, there's a good chance you'll like the Alternative Repertory Theatre's fifth annual holiday presentation of "A Christmas Memory." I've seen Capote's nostalgic reminiscence about a Southern-style Yuletide season presented twice before by this Santa Ana storefront troupe, and both times I was charmed by its evocation of the touching friendship between a young boy and his dotty old cousin.
December 14, 1994 |
In a season that overflows with Dickens, Truman Capote's "A Christmas Memory" is a simple, uncomplicated holiday treasure. Just being recognized as a Christmas classic, it hasn't yet worn the shine off the holly. The production that Alternative Repertory Theatre offers as its Christmas card, directed by Joel T. Cotter, for the most part retains the simplicity in Capote's touching remembrance.
December 12, 1989 |
Most theater in Orange County, like most theater anywhere, is based on the art of illusion. The players make the audience believe, to a greater or lesser degree, that what it is seeing on stage is somehow real. This holds true across the entire theatrical spectrum, from William Shakespeare to Neil Simon. Such an illusional art almost always requires the technical support of scene designers and costume-makers, lighting engineers and sound technicians.