Play gives holiday classic a twist

One of the latest trends in legitimate theater is turning popular films into theatrical plays. Although this trend is proving to be incredibly lucrative, it unfortunately proves how desperate and creatively bankrupt theater is becoming. Thanks to the success of bloated overproduced plays like "The Producers" and "The Lion King" raking in the bucks, it's no surprise that a smaller venue like the Bloomsburg Theater Ensemble have decided to go this route with their adaptation of the classic holiday movie "A Christmas Story."

Before "A Christmas Story" became a cultural phenomenon, it began as a Jean Shepherd short story entitled "Duel in the Snow" or "Red Ryder Nails the Cleveland Street Kid." "Duel in the Snow" took a comic look into the life of a young boy and his efforts to receive a Red Ryder B.B. Gun as a Christmas present. Thanks to Shepherd's enduring cult-like popularity, she was offered a chance in 1983 to adapt "Duel in the Snow" into a screenplay (believe it or not the screenplay's working title was Satan's Revenge) that screenplay eventually evolved into the hit movie "A Christmas Story."

Nearing its 20th birthday and still showing no signs of wearing out, "A Christmas Story" has endured, mainly because of its excellent performances, its relatable situations and its relentless re-airings on cable. With all of these accomplishments under the movie's belt, it is easy see why the Bloomsburg Theater Ensemble would want to adapt this timeless tale for the stage, but it is too bad the production fails so miserably.

The main problem lies in the performances. Parts of the play that should be low-key and naturalistic turn into something over the top and cartoonish. The main offender is Tom Byrn as the Old Man. Byrn flounces around the stage like Daffy Duck on crack, screams his dialogue at the top of his lungs and generally fails to give the role the subtle world-weariness it deserves. Andrew Hubatsek as the Narrator is creepy and even though he is supposed to be the play's all-knowing, all-seeing catalyst, he comes off more as an un-nerving voyeur who resembles the kind of guy you would see shuffling around the parking lot of Adult World. Rounding out the cast is a revolving group of children who play Ralphie and his friends. The children seem to confuse acting with whining. The soul cast member who appears to have talent is Laurie McCants as Mother. McCants shows sharp comic ability and does not succumb to the one-dimensional theatrics of her co-stars.

Another problem plaguing the production of the play is the fact that a lot of the film's more memorable moments have lost their impact and magic on stage. Scenes like Randy getting dressed for his walk to school, Ralphie's visit to the sadistic Santa Claus and Ralphie's fight with Scout Farkus (whose role is virtually non-existent in the play) do not work as well without the benefit of a soundtrack, editing, elaborate set design, and competent direction. If that was not enough, there is also the addition of two completely pointless characters like an intelligent girl that pushes the play into the realm of sci-fi. There is also a girl who has a crush on Ralphie. But the play's greatest blow was the omission of the geeky kid in the long stocking cap that is seen waiting in line for Santa Claus and asks Ralphie if, "he likes the Wizard of Oz."

Admittedly it is a bit unfair to compare a film with a play, especially considering that film and theater are two completely different styles of entertainment. But when you filter such well-known and beloved material through the amateurish levels of community theater, it is inevitably doomed to failure.