Review: EMMET OTTER'S JUG-BAND CHRISTMAS IS A GIFT at Studebaker Theater

Favorite stories don’t end in our world – Paul Williams, “Our World”

As holiday specials go, EMMET OTTER’S JUG-BAND CHRISTMAS doesn’t have the name recognition, branding or merchandizing as other colossal hits like HOW THE GRINCH STOLE CHRISTMAS or A CHARLIE BROWN CHRISTMAS.

But to those of Generation X fortunate to have lived in Canada (or close enough to Canada to pick up the CBC broadcasting signal like this former Metro Detroiter), the show has a special place in our hearts. 1977 was the year we were first introduced to a lovable group of critters from Russell Hoban’s 1971 children’s book of the same name lovingly adapted by Jim Henson and the rest of his Muppeteers. In the years before streaming services, DVDs or even VHS, catching a rerun of the show was a minor miracle in and of itself.

Another miracle? The stage adaptation of the beloved TV holiday classic now playing through Dec. 31 at Chicago’s historic Studebaker Theater. It’s like a warm, holiday hug from a friend you haven’t seen in ages.

With a book by Timothy Allen McDonald and Tony Award-Winning Choreographer Christopher Gattelli (who also directs and choreographs the production), a score featuring both songs from the original television production and new tunes with music and lyrics written by Academy Award-winning composer Paul Williams and Muppets from Jim Henson’s Creature Shop, the 75-minute show performed without intermission rightfully deserves to be your new holiday theater tradition.

The plot of both the original book, TV show and now stage production is essentially an homage to the classic O. Henry short story The Gift of the Magi. Widow Ma Otter (Kathleen Elizabeth Monteleone) and her son Emmet (Andy Mientus) are struggling to make ends meet in Frogtown Hollow. She uses her washtub as a laundress for the wealthier citizens of nearby Waterville. Emmet, meanwhile, puts he late pa’s tool box to good use doing odd jobs. The pair barely eke out a living, with Ma often having to barter knitted socks to put food on the table.

When the gregarious Mayor Fox of Waterville (the hilarious Kevin Covert who adlibs during the talent show to great comedic effect) announces a Christmas Eve talent show with a first prize of $50, both Otters decide to enter the contest without the other’s knowledge. Ma plans to hock the tool box for material for a new dress and Emmet is going to put a hole in the washtub to play washtub base in a jug-band he and his friends have put together. She plans to use the winnings to purchase the guitar Emmet has being eyeing and he plans to use his share of the winnings to get his mom’s piano out of hock.

The show never feels forced, saccharine nor preachy in part to the performances by its lead actors. Monteleone’s Ma gently raises her son to be respectful, kind and loving. Mientus’ Emmet heeds his mom’s lessons well. At many points through the show, you might feel yourself wishing you could give them both a big hug. The pair also harmonize well.

Of the Emmet’s jug-band pals, dim-witted but sweet Wendell Porcupine (Steven Huynh) stands out, but merely because his character seems to have the most lines of Emmet’s pals. The Skivvies’ Nick Cearley’s voice (as Charlie Muskrat) is unmistakable (though fans of his band might not recognize him with far more costume than we are used to seeing him in). As the good natured Harvey Beaver, Ben Matthew rounds out the quartet. You get a sense of friendship and a can-do attitude from all of them.

Also worth noting is Sawyer Smith’s performance as Madame Squirrel, the exhausted and exasperated mother of a litter of high-energy youngings.

The muppetry by Jordan Brownlee, Matthew Furtado, Ben Mathew, Anney Ozar, Emily Rohm, James Silson, David Stephens and Leah Morrow is worthy of carrying the Henson name. Both masterful and magical, it’s like being treated to a live version of THE MUPPET SHOW. Some of the largest applause opening night came when the muppeteers recreated the song “Barbecue” in Muppet form before the live actors came on stage to finish the reprieve. I can’t help but think Henson would be proud of the cast’s skills.

The new songs in the score include “Trust the Branch” (a “believe in yourself” ditty song by flying squirrels who let Emmet in on a little secret –they don’t really fly, it’s all the branches they jump to/from), “Born in a Trunk” (a burlesque-style number for Sharriese Hamilton as the wallflower music store owner Mrs. Mink) and “Alice Keep Dreaming” (an 11 O’clock number sung by Williams as the ghost of Pa Otter). All are worthy additions with Pa’s number being particularly poignant.

Gattelli’s direction keeps things moving at a brisk pace. Seeing as the show operates as both a kid-friendly holiday show and a nostalgic trip down memory lane for the adults, the show held the attention of all of the little ones I spotted in the audience at the show’s opening. And much like Henson’s other works, the show is child-friendly with enough jokes to keep the adults laughing.

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