‘The Gifts of the Magi’ is worth opening

If you are a looking for a holiday show that is both traditional and a little off the beaten path, Jubilee Theatre’s production of The Gifts of the Magi is a wise choice.

This musical, with a score by Randy Courts and lyrics by Courts and Mark St. Germain, is based on the famous O’Henry short story, titled in the singular as The Gift of the Magi, about a young, impoverished couple trying to make Christmas special.

It is traditional because it embraces the season in such a familiar way. But it is also a little out of the ordinary because it is not an A Christmas Carol adaptation (there are at least five of those playing around the Metroplex right now), and because, despite its credentials, it is not often staged.

This production, directed by Jubilee artistic director Bill Earl Ray, features a cast of outstanding singers who spin O’Henry’s tale with tuneful energy and verve. Quintin Jones and Sakyiwaa Baah portray Jim and Della Willingham, the near-penniless newlyweds at the heart of the story.

In a clever bit of dramatic structure, Jeremy Davis and Dominique Brinkley represent the general populous of New York as the City (Him) and the City (Her). Providing a narration a bit like the stage manager in Our Town is Bryan Blanks, as the newsboy Willy Porter, who provides background material and interacts with the other characters.

And last but certainly not least is Dennis Raveneau, as the loquacious and erudite street bum, Soapy Smith. Raveneau is a regular on the Jubilee stage who is especially effective when playing distinguished characters of great bearing and refinement. But in this musical, he dons tattered clothes and crafts a delightfully comic performance that just about steals the show altogether.

O’Henry’s story is straightforwardly told in this musical adaptation. The time setting of 1905 is retained and the period is nicely underscored by Rhonda Gorman’s spiffy costuming.

The show’s songs, which are composed in a contemporary style, are often highly appealing for the complexity of their structures and the beauty of their melodies. Delivery of those numbers are well supported by on-stage pianist Aimee Hurst Bozarth.

There is not a weak voice in this cast, but Blanks gets a little more of an opportunity to show off his pipes than the other players, and he cashes that check wonderfully.

The only bah humbug that might be hurled at this show is that, although it is presented in a single, 85-minute act, there are places where it could be trimmed a bit. But that criticism falls at the feet of its creators. Ray and his cast take of business about as briskly and effectively as could be imagined.

The company as a whole deserves kudos for finding such a good script for its holiday offering. The fact that it happens to be presented by an all-black cast is evidence of both the universality of this story, and Jubilee’s color-blind approach to selecting material for its stage.

So this is a charming, Christmas-y stage show that you haven’t seen a million times. It serves up O’Henry’s trademark blend of sentimentality and irony with as much ease and grace as Mrs. Cratchit placing a Christmas pudding on her family’s suddenly bountiful table.

And, best of all, you don’t even have to ride a camel across a desert or lug around a gift-wrapped box of frankincense to take part in the warmhearted joys of this endearing musical.

This story was originally published December 4, 2016 at 8:52 AM with the headline "‘The Gifts of the Magi’ is worth opening."