REVIEW: Chapin Theatre’s A Seussified Christmas Carol Sells Out Before Opening!** by Jane Peterson

One thing I always hope to do as a reviewer is to help boost ticket sales for local productions. Community theatres rely on us to keep their mission of bringing quality theatre alive. In this case, though, it is a true “snooze, you lose” situation—A Seussified Christmas Carol by Peter Bloedel sold out before opening night. It’s a shame Chapin Theatre isn’t extending the run for one more weekend, because this delightful production deserves to be seen by even more people. Drawing from the genius of two of my favorite authors—Charles Dickens and Dr. Seuss—this show blends the best of both worlds to retell the story of Ebenezer Scrooge and his transformation, complete with Marley’s ghost and the ghosts of Christmas Past, Present, and Future.

Before I go on, here’s a tip: jump on Chapin’s 2026 fall membership deal! It’ll save you some money and guarantee your seat for next season. You can find all the details at chapintheatre.org.

A Seussified Christmas Carol follows Scrooge—the meanest, stingiest man in town—as he discovers his heart and soul through encounters with the spirits. He’s forced to face his selfish ways and ultimately embraces love, family, and the true spirit of Christmas. All of this is told through the wacky rhyming couplets of Dr. Seuss, making for a charming and whimsical experience. A stage full of young actors, mixed with seasoned performers of all ages, worked together wonderfully to bring this magical story to life. I smiled from start to finish.

Directed by Bonnie Hill Lyon, the large cast is expertly anchored by Gerald McWilliams as Scrooge, whose facial expressions and comic timing fit this miserly character perfectly. And yes—it’s “The Scrooge,” as he was once a rock star in his youth! Narrators 1 and 2 (think Thing 1 and Thing 2), played by Leah Gilbert and Emma Lyon, brought terrific energy and agility to their roles, guiding us through the story. Lonnie Owen—who must be nearly seven feet tall—was a fantastic contrast as Scrooge’s determined nephew, Beadheaded Fred. His booming presence and the chorus of children mimicking his laugh made him a standout Seuss-inspired character. Other notable performances include Scott Anderson as poor, anxious Bob Crachett, father of Timmy Lou Hoo, and Abby Mathias, who showed wonderful comedic range as both the Ghost of Christmas Past and Mrs. Cratchet.

The minimal cubic set and props by Sandy Steffan, along with costumes designed by Abby Mathias, were a perfect fit for this playful production. Chapin also made excellent use of their projection system thanks to the smart design work of Chris Harre. Choreographer Meredith Boehme kept the large cast moving smoothly and magically through the intimate space.

This talented ensemble also includes Luke Anderson, Christian Banks, Meredith Boehme, Rilyn Boehme, Gigi Cunningham, Lauren Dawkins, Nathan Dawson, Perry Dawson, Caroline Futch, Leah Gilbert, Lindsey Kelso, Nicole Kingsley, Len Lesslie, Gabriel Lyon, Faith Magann, Garrett Martin, Leo Owings, Audrey Roberts, Charleston Stalker, and Beaux Tyler.

Chapin Theatre’s 2026 season will feature:

How to Supervise Women by Lou Clyde — Feb. 6–22

Nana’s Naughty Knickers by Katherine DiSavino — May 14–31

Mary Poppins by Julian Fellowes — July 16–26 (Harbison Theatre)

Holmes and Watson by Jerry Hatcher— Sept. 25–Oct. 11

Holiday Show — Dec. 3–13

For memberships or individual tickets, visit chapintheatre.org.

REVIEW: Chapin Theatre Company's Once Upon a Mattress -- A Royal Treat for All Ages

by Jane Turner Peterson

Grab your kids, grandkids, aunts, uncles—and of course, moms and dads—and get your tickets now! Once Upon a Mattress is a hilarious, heartwarming musical that’s perfect for all ages, and Chapin Theatre Company’s production is one you don’t want to miss. With just one weekend left at Harbison Theatre at Midlands Tech, this charming retelling of The Princess and the Pea promises big laughs, catchy songs, and plenty of fun.

Originally debuting on Broadway in 1959, Once Upon a Mattress introduced audiences to the unforgettable Carol Burnett as Princess Winnifred. With music by Mary Rodgers, lyrics by Marshall Barer, and a book by Jay Thompson, Dean Fuller, and Barer, the show has rightfully earned its place as a musical theatre classic. Chapin’s version stays true to the spirit of the original while adding its own lively flair and fresh energy.

The plot takes us to a whimsical kingdom “long ago and far away,” where King Sextimus has been mysteriously struck mute, and his domineering wife, Queen Aggravain, has taken control. She’s decreed that no one in the kingdom may marry until her son, Prince Dauntless, finds a princess who can pass her ridiculously unfair test. This causes chaos for young lovers Sir Harry and Lady Larken, who have urgent reasons to wed.

Enter Princess Winnifred the Woebegone, found in a swamp and brought to court by Sir Harry. She’s bold, brash, and unlike any princess the kingdom has seen. But Queen Aggravain is determined to sabotage her son’s romance, leading to a series of uproarious schemes and surprises.

Maggie Baker is delightfully bold and brassy as Princess Winnifred, with a perfect mix of comedic timing, crystal-clear vocals, great dance moves, and a natural stage presence that lights up every scene she is in. Tyler Zanga charms as Prince Dauntless, nailing both the humor and sincerity of a young man struggling to grow beyond his mother’s grasp. Their chemistry is funny, sweet, and wonderfully genuine.

Queen Aggravain, played by Debra Kiser, literally stole the show as the irritatingly chatty and bossy Queen. Her comedic timing was impeccable, and the scenes with Prince Dauntless were hysterical. The pair was delightful to watch as the overpowering mother and son duo. Be sure to watch out for her “traveling” beauty mark!

Abigail Williams, in her first Chapin Theatre role, impresses with her powerful voice as Lady Larken, making it clear she is a rising star to watch in town. Frank Thompson as the Minstrel, Joel Yarborough as the Wizard, and Billy McNeill as the Jester are a comedic trio in the best sense—playful, sharp, and totally in sync, like a medieval version of the Three Stooges. Lonnie Owen is a commanding Sir Harry, with strong vocals creating wonderful harmonies with Williams’ Larken. And Jim DeFelice nearly steals the show as the silent King Sextimus, relying entirely on physical comedy to earn big laughs—he does it masterfully.

The creative team behind the scenes pulls it all together beautifully. Director Mary Jo Johnson and musical director McCall Bethurem, both Chapin summer show veterans, guide the production with confidence and care. Choreographer Meredith Boehme brings the stage to life with clever, energetic movement—especially in the showstopping “Spanish Panic” number, which earned rousing applause.

Everything from Queen Agrivan’s outrageous costume to the royal court's vibrant costumes to the whimsical set design adds to the fairy tale magic. And yes—the giant bed lives up to the hype!

With just one weekend left, Thursday, August 24 through Sunday, August 27—this production of Once Upon a Mattress is not to be missed. Evening performances begin at 7:30 pm, with matinees on Saturday and Sunday at 3:00 pm.

Don’t miss your chance to enjoy a delightful night at the theatre. This musical proves that fairy tales—and community theatre—are alive, well, and absolutely worth celebrating.

Tickets are available now at chapintheatre.org.