Like the despised fruitcake that is passed from one generation to the next in Gary Apple’s hard-to-digest musical, Christmas in Hell, the show itself is an amalgam of strange ingredients. Sometimes sincere, usually madcap, but hardly ever having to do with Christmas, it is the tale of an 8-year-old boy mistakenly sent to Hades and the father who has to drink some Clamato to get him back. With one song that rhymes “Jesus” with “Chuck E. Cheese’s,” and another composed almost entirely of variations of the F-word, some in the audience may find the show in bad taste. With references to Charles Manson and Leona Helmsley, others may simply find it stale.
Shakespeare is getting a Wild West twist this fall with Desperate Measures at the York Theatre Company. The new musical transports Measure for Measure to the American frontier in a high-energy adaptation by Peter Kellogg and David Friedman that charms and entertains.
Marry Harry revives a genre not much seen in these parts lately, the charm musical. The work of Jennifer Robbins (book), Dan Martin (music), and Michael Biello (lyrics), the show is small and hasn’t much on its mind, just the urge to put a few likable characters through a simple story and send its audience out with a collective feeling of “Aww.” Thanks to an attractive production on the intimate York Theatre stage and an overqualified cast, it gets its “Aww,” though it also earns a couple of orders of “You can’t be serious.”