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Jeffrey Sanzel

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Photo by Steven Uihlein/Theatre Three

On Thursday, December 12, the descendants of Frederick C. Griswold, inventor of the famous Griswold Film Splicer, visited Mr. Scrooge at his current home at Theatre Three in Port Jefferson.

The splicer was invented in the former machine shop, which now houses the Ronald F. Peierls Theatre and Griswold’s Café. The Griswold family played an integral role in shaping Port Jefferson Village into the community we now call home.

In addition to owning the machine shop, the Griswold’s were involved in shipbuilding, carriage building, the fire department, fishing, lobstering, and operated various businesses in Port Jefferson until the 1970s, with a generation-spanning influence. The newest members of the Griswold family—Christopher (Fred’s great grand nephew), his wife Jessica, and their three children, Jaxon, Colton, and Nash—attended Theatre Three’s 40th annual production of Charles Dickens’ A Christmas Carol.

The Griswold family was joined by the theatre’s Artistic Associate, Douglas Quattrock; Mr. Scrooge (a.k.a. Executive Artistic Director, Jeffrey Sanzel); Managing Director, Vivian Koutrakos; and Board of Directors President, Andrew Markowitz.

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Reviewed by Jeffrey Sanzel

In the wake of Black Friday and sliding headlong into the Buying Season, Netflix is streaming Buy Now: The Shopping Conspiracy. Written and directed by Nic Stacey, the 84-minute documentary reminds us that corporations are for profit, not for humanity. 

The voice of Sasha, a computerized personal assistant, guides the viewer through five rules of profit maximization: Sell More, Waste More, Lie More, Hide More, and Control More. Presented as a video tutorial, Sasha promises success to those who follow the guidelines. (The Sasha gimmick is effective but might grate on some. Her voice is reminiscent of 2001: A Space Odyssey’s HAL smoothly saying, “I’m sorry, Dave. I’m afraid I can’t do that.”) 

A scene from ‘Buy Now’. Photo courtesy of Netflix

Under attack are the usual suspects. Amazon, Apple, Adidas, and the clothing industry at large (Gap, H&M, Shein, etc.) represent the major culprits. Marketing products that are single-use or have built-in obsolescence drive profits. Worse, companies rarely consider the end-of-life of objects. The film puts a great deal of focus on the environmental carnage of landfills and burnings. It is not litter. It is hazardous waste. 

Statistics are a large part of Buy Now’s attack: 68,733 phones produced per hour, 190,000 garments produced each minute, and 12 tons of plastic produced each second. According to the Or Foundation, a not-for-profit trying to reduce textile waste, more than 15 million unwanted clothes are sent to Ghana—one of the world’s largest importers of used clothes each week. Globally, approximately 13 million phones are tossed out daily. An anecdote about the lightbulb cartel of 1925 introduces the established cornerstone of industry: planned obsolescence. In the present day, products are sealed and seamless. Laptops, printers, and phones are replaced, not repaired. And the sooner, the better. 

The film calls out the fallacy of recycling, noting that barely ten percent of claimed recycling is accomplished. The markings on plastics range from half-truths to outright lies. Companies contend that recycling fixes the problem. “Truth is very different.” As packaging rules are lax, “You can say whatever the hell you want.” The symbols are largely meaningless. Most will be buried or burned. The sole solution is manufacturing less plastic. 

The talking heads are mostly reformed staff members of the big companies, many of them openly paying penance for their part in the destruction. As one states, “I think I definitely have some sins to make up for.”

Buy Now’s tone blends horror with tongue-in-cheek commentary. The film only rests in the interviews and, even then, cuts to different angles. The peripatetic nature leans into a non-stop modern lifestyle as well as the problem’s urgency. The avalanche of shoes, laptops, and phones cascades, oozes, stampedes out of buildings and garbage cans, falls from the sky, and rolls down the streets. Clothing even vomits out of dryers. 

A scene from ‘Buy Now’. Photo courtesy of Netflix

The science-fiction essence harkens to films like The Blob, where cities are overrun, here played against the unknowing citizens in An Invasion of the Body Snatchers oblivion. The visuals have a mordant wit, and the techno music raises the future-of-the-damned tone. (A nice touch is the underscoring of the Adidas section with Saint-Saëns’s “Danse Macabre.”) Clips from Wall-E show the future of the planet. However, something is disconcerting about the presence of Disney/Pixar when it is probably responsible for more plastic toys and disposable souvenirs than any other company in the world.

Buy Now represents waste in myriad ways. These include shores clogged with plastic and shoveled into hell-like infernos. But the most startling image is the most common. Boxes upon boxes stacked in front halls and on kitchen floors; teetering piles spilling open. We buy everything we think we need—and more of it—often at one a.m. Amazon is the thing that occurs to you. “If the system is magic, what would it do? There is just a conveyor belt that goes straight from wherever the item is to your door as quickly and frictionless as possible.” With the internet, the next shoppable moment is always now. Buying new stuff feels great. But the flip side is where does it go?

The massive destruction of merchandise that prevents food and even healthcare products from being salvaged is equally horrifying. A United Kingdom Amazon warehouse destroys 130,000 pieces a week. There are five billion pounds of landfill waste in destroyed products. (More images, more statistics.)

Buy Now is an unequivocal indictment of the way we live. Enhanced by Brendan McGinty’s cinematography, Samuel R. Santana’s sharp editing, and engaging VFX and animation by Colin Thornton and Neil Wilson, the film is a bold statement about consumption and responsibility. You will look at your daily take-out cups of coffee, each plastic water bottle, and every item of clothing with a different eye. 

The final line goes to Kyle Wiens, the CEO and co-founder of iFixit: “That’s it. Just buy less. It will be fine. Life is about experiences and the people that we’re with, and the stuff that we have supports it. But it’s not the end. It’s not the objective. Whoever dies with the most stuff does not win.” 

The film is now streaming on Netflix.

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Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli
Scene from the 28th annual Charles Dickens Festival in Port Jefferson. Photo courtesy of Jennifer Donatelli

By Jennifer Donatelli

In the quaint hamlet of Port Jefferson village, a wondrous transformation occurred on Dec. 7 and 8, whisking it back to the days of yore, specifically to the era of Charles Dickens. The enchanting village is the home of one of the region’s most beloved holiday traditions — the Charles Dickens Festival.

For over 28 years, the festival has celebrated the works of Charles Dickens and his timeless classic, “A Christmas Carol,” bringing the spirit of Dickens’ era to life in the heart of Port Jefferson. 

The festival is sponsored by Northwell Health’s Mather Hospital and is a partnership between the Greater Port Jefferson-Northern Brookhaven Arts Council and the Village of Port Jefferson and is run by volunteers. Allan Varela, producer and creator of the festival as well as chairman of the Greater Port Jefferson Northern Brookhaven Arts Council, said, “This is a great mix of entertainment, history, and holiday cheer that captivates both young and old.”

Mather Hospital Executive Director Kevin McGeachy said, “We are proud to have sponsored the Charles Dickens Festival for the second consecutive year. We see this as a wonderful opportunity to connect with and support our community at an event that brings us all together to celebrate this special time of year.” 

This annual event, attended by over 25,000 people from all over the country and around the globe, transported festival goers back to Victorian England with costumed performers, bustling street markets, festive decorations and a variety of family-friendly activities. In the course of two days, there were 172 events and over 130 volunteer musicians, actors and townspeople who wandered through the crowd, all dressed in period attire.

From the moment attendees stepped onto Main Street for the opening parade and heard the bells ringing, they were enveloped in the charm of a Victorian Christmas. The cobblestone streets were brimming with life and bustling with street characters like Father Christmas, the Dickens Mayor, the miserly Scrooge, the ever-vigilant Town Crier and the soot-faced chimney sweeps roaming the hamlet. 

“I’ve been coming to the Dickens Festival for years, and it’s the highlight of the season,” said attendee Jane O’Connor, who brought her grandchildren for the first time this year. “It’s magical how the whole town transforms. The costumes, carolers and the storytelling really make you feel like you stepped back in time.”

Held in the town’s picturesque First United Methodist Church, the main highlight of the festival was the array of performances and reenactments of Dickens’ most famous works, including a live reading of “A Christmas Carol,” where actors and volunteers joined forces to bring Ebenezer Scrooge and his ghostly visitors to life.  

“There’s something about the intimate setting of Port Jefferson, with its history and beauty, that makes the story feel even more poignant,” said Varela. He explained how involved the audience gets, adding that it’s a great way to spread Dickens’ message of redemption and generosity. 

Alongside the traditional readings, the festival also featured various musical performances, including Victorian-era carolers singing holiday classics as they strolled down Main Street. 

“It’s so rewarding to see people enjoying our music,” said First Methodist choir member Susan Miller. “The weather can be chilly, but the warmth from the crowd makes it all worthwhile with people singing along with us.”

Visitors saw a few new additions this year. The second floor of the Village Center was turned into Elf Works. “You’ll go in there and see busy elves hard at work making Christmas gifts for the Festival of Trees,” said Varela of the elaborate Festival of Trees display featuring two rows of 30 over-the-top decorated trees.  

Believers in ghosts of Christmas past took a stroll down to Dickens Central where they had photos taken with four oversized ghosts from “A Christmas Carol,” a six-foot photo of Dickens and a giant walk-in snow globe. 

The festival also featured a charming Victorian marketplace that stretched down historic Main Street, with local vendors offering everything from handmade crafts to vintage books and holiday ornaments. The smell of roasted chestnuts filled the air as visitors sampled traditional Victorian fare such as milled cider and gingerbread cookies. 

“The market really captures the essence of what Dickens would have experienced in his time,” said vendor Anna Whelan, who sells handcrafted jewelry inspired by Victorian designs. “The costumes, the music and the atmosphere all make this festival a true labor of love for the community.”

Varela explained that the festival is a true community event, with locals volunteering to create the festive atmosphere, from decorating storefronts to participating in the pageantry. “It’s a celebration that unites people of all ages who return year after year, making it such a cherished tradition.”

Of course, no Charles Dickens Festival would be complete without a live performance of his classic holiday story, “A Christmas Carol,” which was performed at Theater Three each night of the festival. “This is our 40th anniversary production,” said Jeffrey Sanzel, executive artistic director of Theater Three who has performed the lead role of Scrooge over 1,600 times. 

“But at the heart of it, of course, is the idea of making the community a better place, of taking responsibility beyond ourselves,” Sanzel said. “And this whole idea of the Dickens Festival, which brings the community together, really reflects that as well.”

“This festival has become part of our holiday season,” said Port Jefferson resident Tom Harris, who attends every year with his wife and children. “It’s a great way to create family memories and a wonderful way to get into the holiday spirit.”

As the festival wrapped up this year, Varela and his team were already looking forward to the next celebration. “I’m already planning my costume for next year,” said Jessica Green, who portrayed a street vendor this year. “It’s such a fun event and I love seeing the joy it brings to everyone.”

Whether you’re a long-time attendee or a first-time visitor, the Charles Dickens Festival is a festive, enchanting experience that captures the magic of the holiday season in a way only Dickens could imagine.

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Cynthia Erivo and Ariana Grande-Butera in a scene from the film. Photo courtesy of Universal Pictures

Reviewed by Jeffrey Sanzel

Few books attain the iconography of L. Frank Baum’s The Wonderful Wizard of Oz (1900). Perhaps better known is the MGM classic, released in 1939. Starring Judy Garland as the tornado-transplanted Dorothy Gale, the image of her joined by the Scarecrow, the Tin Man, and the Lion (and, of course, her dog, Toto) dwells in our collective conscience.

Cynthia Erivo and Ariana Grande-Butera in a scene from the film. Photo courtesy of Universal Pictures

While not the first novel to explore the source for an alternate view, Gregory Maguire’s Wicked: The Life and Times of the Wicked Witch of the West (1995) became a phenomenon, selling over five million copies; three sequels followed.

In 2003, composer/lyricist Stephen Schwartz (Godspell, Pippin) and Winnie Holzman (My So-Called Life, Thirtysomething) adapted the novel for Broadway. While the reviews were mixed, the musical proved an audience hit. The Broadway Wicked has passed 8,000 performances, becoming the fourth longest-running musical in Broadway history. Tours, as well as worldwide productions, keep the show in the public’s eye.

Universal Pictures (who co-produced the Broadway production) present the film Wicked, the first of a two-part adaptation. Winnie Holzman and Dana Fox crafted a first-rate screenplay, returning to the book for details and creating additional backstories and an expansion of the narrative. Jon M. Chu (Crazy Rich Asians, In the Heights) brilliantly directs with a deep and honest understanding. From start to finish, Wicked is a triumph. In the truest example of the whole being greater than the sum of its parts, the film is an alchemical fusion of material, cast, and design, unifying in a single vision.

Wicked opens on the stone floor of the Wicked Witch of the West’s castle after her liquidation. The film cuts to a longshot of the friends with her broom traveling the Yellow Brick toward the Emerald City. The next shot is Glinda’s Munchkinland arrival in the signature pink bubble and her affirmation, “It’s good to see me.” Over the next two and a half hours, the story of the unlikely friendship of Glinda and Elphaba unfolds with dazzling visuals, first-rate vocals, and heart-felt, connected performances. It is not just the tale but how it is told: The movie opens the story to its “unlimited” vistas.

The film shows Elphaba’s birth and family, emphasizing her cuckolded father’s intensive dislike for the green baby. Additionally, he blames the verdant girl for the death of her mother and the damage to the second daughter, Nessarose. A script change creates greater tension: Elphaba did not intend to enroll at Shiz University; she was there to see Nessarose settled. Elphaba’s magic—like many outcasts (think Carrie)—manifests in moments of anger. After a display of violent but impressive power, Madame Morrible, the Dean of Sorcery, recruits Elphaba for the college. Morrible makes Galinda (she has yet to drop the “a”) share her spacious living quarters. Thus begins a fractious relationship that blooms into a deep friendship that is Wicked’s core.

The film squarely addresses the fascist issues examined in the book. The expulsion of Professor Dillamond, the goat who teaches history, is frighteningly effective and affecting. Unlike the hybrid in the Broadway production, Dillamond is a full-fledged goat—played with a genuine and sensitive core. A harrowing scene in which a group of animals meet covertly to discuss their impending fate resonates as a 1940s Germany. The filmmakers make bold statements regarding oppression and the stripping of rights, further emphasized in the presentation of the Wizard.

Cynthia Erivo and Ariana Grande-Butera in a scene from the film. Photo courtesy of Universal Pictures

Christopher Scott found the perfect vocabulary for the choreography, making each number and every movement count in the dozen numbers. The designs work towards flawless unity. Paul Tazewell’s jaw-droppingly elaborate costumes play perfectly against Nathan Crowley’s genius of a production design, perfectly filmed by cinematographer Alice Brooks. Glinda’s myriad shades of pink contrast with Elphaba’s textured blacks. The school uniforms play smartly against the Disney-esque Shiz University. The clockwork library allows for a “Marion the Librarian”—on-steroids “Dancing Through Life.”

At the film’s center are the exceptional performances. Cynthia Erivo embodies Elphaba in her struggles and frustrations but also her hope and humanity. She finds a wry humor that never fully masks her complicated outsider’s pain. Ariana Grande-Butera’s hair-flicking G(a)linda is the enchanting counterpart, an Elle Woods on steroids. But like Erivo, she allows the character’s inner life—and, most importantly, growth—to shine through. Both demonstrate a ferocious understanding of the throughline and deliver excellent vocals. 

Jonathan Bailey’s Fiyero raises the clichéd bad-boy and embodies his self-reflective declaration, “I don’t cause commotions. I am one.” Michelle Yeoh brings dangerous elegance to Madame Morrible, the ideal contrast to Jeff Goldblum’s bumbling but seemingly charming Wizard. In the latter, we see the true banality of evil, with his throwaway “to bring folks together, give them a real good enemy.” 

The supporting cast is first-rate: Ethan Slater sweet as the gentle but eager Boq, Marissa Bode strong as Nessarose, Peter Dinklage giving a gentle gravitas to the voice of Dr. Dillamond, Bowen Yang and Bronwyn Jones hilarious as Galinda’s sidekicks Pfannee and ShenShen, and Keala Settle’s upright but corruptible headmistress, Miss Coddle. The film contains two special appearances and a cameo that will delight fans. 

With Wicked, we finally have a musical adaptation to join the ranks of The Sound of Music and Chicago. With its high-octane energy, celebratory score, extraordinary imagery, and glorious cast, Wicked does not just fly—it soars. Rated PG, the film is now playing in local theaters.

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Martha: The Cookbook

Reviewed by Jeffrey Sanzel

Martha Stewart is one of the most recognizable personalities in the world. Noted for her media empire (Martha Stewart Living Omnimedia), the home and hospitality guru attained the highest level of celebrity. She published her first book, Entertaining, in 1982.

Martha: The Cookbook marks her one-hundredth cookbook. Subtitled “100 Favorite Recipes, with Lessons and Stories from My Kitchen,” the book reflects her culinary work and her family life. The introduction and the facing photographs indicate this will be an intimate tome. In addition to the hundreds of photos accompanying the recipes, she shares dozens of personal photos, ranging from family members to Julia Child.

Stewart divides the book into seven chapters: Breakfast & Brunch; Soups & Salads; Cocktails; Hors d’Oeuvres; Dinner; Garden Sides; and Desserts. An appendix follows them: My Basic Pantry explains beef, chicken, vegetable, and turkey stocks, the ideal pastry crust, etc. She outlines her favorite kitchen tools, from the rolling pin to a sesame seed roaster.

In the first chapter, Breakfast & Brunch, Stewart launches with a basic offering: steamed eggs. This is simply a more effective approach to boiled eggs, with instructions anyone can handle. Knowing that her audience will have various skills, she offers a classic hollandaise sauce and an easy hollandaise sauce for artichokes with poached eggs and salmon. She includes her green juice formula, “an invaluable part of my [her] quest for aging gracefully.”

Stewart reflects her Polish heritage with her beet soup and potato and buttermilk soup. On the other end of the spectrum, she sometimes suggests elevating basic fare with truffles or caviar. Drinks include Martha-tinis, Martha-ritas, and a citrus alternative to the Bloody Mary, Mary’s Knees. Hors d’oeuvres range from deviled eggs and potato pancakes to oysters two ways (Rockefeller and Casino). A memory of crabbing with her father on New Jersey’s Shrewsbury River segues into her crabcake recipe. A tantalizing smashed baked potatoes section explains how and, intriguingly, why they should be smashed. 

The two largest sections of the book are Dinners (twenty-one recipes) and Desserts (twenty-two recipes). These sections contain some of the most challenging pieces. The time-intensive potato pierogi and paella recipes are ambitious but clearly worth the effort. Stewart follows the one ingredient dessert—orange granita—with the complex Cipriani classic meringue cake. 

When possible, vegetables come from her gardens and fruit from her trees; she raises chickens for their variety of eggs. She cites two specific residences: a farm in Bedford—where her greenhouses allow growth year-round—and a home on Maine’s Mount Desert Island. Using the best materials from the best sources is a major theme in Stewart’s cookery.  

The contents of the book represent a lifetime of travel. Whether in Ibiza, in the Spanish Balearics, or a café/bakery in Boston, she spent her career gathering the best gastronomic experiences to share with her followers, whether on television or through her magazine and books. 

The personal sections, woven throughout, are titled “Remembering.” Stewart’s memory for detail is extraordinary. Photos of her runway work accompany her days of modeling in Paris during her early college years. She describes her apartment on 101st St. and Riverside Drive in Manhattan, when she worked as a Wall Street stockbroker. In a handful of sentences, she paints a picture of the joys of marriage, pregnancy, and cooking every recipe in Mastering the Art of French Cooking, Volume One, by Julia Child, Simone Beck, and Louisette Bertholle. 

A major highlight is Dana Gallagher’s exquisite photos. Most take an entire page or even a two-page spread. They are bright, vivid, and truly elegant, but this is no surprise. Reflecting on a 1993 soufflés photo shoot, Stewart states, “My editors and I learned a lot on this photo shoot. We learned that we have to treat all food with great respect. No detail is too small.” 

Martha: The Cookbook arrives in time for the holidays. A self-described traditionalist, she presents turkey and ham preparations, ideal for Thanksgiving and Christmas. Pumpkin pie with phyllo crust shows a willingness for a twist on a popular dish. 

While she mentions many famous people and trendsetters, this outing comes down to celebrating family. She often mentions her mother, Big Martha, and her daughter, Alexa (both represented by recipes). She now teaches her granddaughter, Jude, as she taught Alexa. 

In her final words in the Introduction, Stewart sums up her goal: “Please enjoy the recipes we have featured and treat yourself, your family, and your friends to a little taste of my favorites—and do not forget to start compiling your own list of favorites to hand down to your loved ones.”

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JAZZ HANDS! The cast of 'Barnaby Saves Christmas' Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.
A scene from 'Barnaby Saves Christmas' 2024. Photo by Peter Lanscombe/Theatre Three Productions, Inc.

By Heidi Sutton

Twenty years ago, Theatre Three’s Douglas Quattrock decided to put down on paper an original bedtime story he had been telling his nieces and nephews for years. Joining forces with Jeffrey Sanzel, they created an adorable musical about a little elf and a tiny reindeer who teach us that “Christmas lies within our hearts.” Titled Barnaby Saves Christmas, it has become a beloved tradition that comes to life on the theater’s stage for the holidays.

It’s Christmas Eve and Santa’s workshop is a flurry of activity as elves Sam, Crystal and Blizzard make last minute preparations before they join Santa and his reindeer in delivering presents. The newest elf, Barnaby, is busy finishing a special request from Santa — a little stuffed bear with dark blue pants, buckles on his shoes and a bright yellow vest. 

When everyone else leaves on Santa’s sleigh, Barnaby soon realizes that the stuffed bear has been left behind and convinces Franklynne the littlest reindeer to help him track down Santa and give him the toy. Along the way they meet a Jewish family and learn all about Hanukkah and bump into an evil villain named S. B. Dombulbury who, with his partner in crime Irving, are stuffing chimneys with coal in order to steal all the presents. 

Directed by Colleen Britt, the show, featuring 9 adult cast members — Matthew J. Hoffman (Barnaby), Cassidy Rose O’Brien (Franklynne), Steven Uihlein (S.B. Dombulbury), Julia Albino (Sam), Jason Allyn (Santa, Andrew), Jason Furnari (Irving), Gina Lardi (Mrs. Claus, Sarah), Katy Snair (Blizzard, Rebecca) and Delaney Jessica (Crystal, Dalia) — is always evolving. For this special anniversary, Quattrock has added a new song, “Light the Candles,” with additional characters in the second act and the sound effects and lighting have reached new elevations.

Many of the actors are given a chance to shine with solos with special mention to Hoffman’s rendition of “Still With A Ribbon on Top,” Uihlein’s “S.B. Dombulbury,””Gina Lardi’s “Miracles,” and Allyn’s “Within Our Hearts,” all beautifully executed. 

With choreography by Sari Feldman, the holiday show is jam packed with singing (including a fun rap song) and dancing (even tap!), comedy, suspense, hypnosis, surprises and a fun chase scene through the theater your kids will love. It even snows on stage! The show utilizes the set of the theater’s current production of “A Christmas Carol,” giving it an authentic feel and the sparkly and elegant costumes by the multi-talented Jason Allyn complete the magic.

Kick off your holidays with Barnaby Saves Christmas and experience an afternoon of pure joy. Souvenir elves and reindeer are available for purchase before the show and during intermission and the entire cast will be in the lobby after the show for photos. 

—————————————–

Theatre Three, 412 Main St., Port Jefferson presents Barnaby Saves Christmas through Dec. 28. Children’s theater continues with Hansel & Gretel from Jan. 24 to Feb. 8, Dorothy’s Adventures in Oz from Feb. 19 to March 29, The Adventures of Peter Rabbit from April 16 to May 10 and Snow White from May 29 to June. 21. All seats are $12. To order, call 631-928-9100 or visit www.theatrethree.com.

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Lacey Chabert in a scene from 'Hot Frosty.' Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

Christmas is a time of giving: gifts, good cheer, and kind wishes. Christmas is also the time for an endless parade of holiday movies launched by every channel and streaming service. And, like a handful of coal, Netflix stuffed our stockings with the one-note, no-joke Hot Frosty. 

Writer Russell Hainline’s premise is simple. Depressed widow Kathy Barrett (Lacey Chabert), owner of Kathy’s Kafé, lives in the town of Hope Springs (subtle). Still grieving over the death of her husband to cancer, her life is falling apart: the roof leaks, the heat does not work, and she no longer cooks for herself, represented by a counter of empty takeout containers. However, other than that, she seems to be doing okay. Let’s call it grief light. 

Lacey Chabert in a scene from ‘Hot Frosty’ with Dustin Milligan. Photo courtesy of Netflix

Her friend, Mel (Sherry Miller), runs Reclaimed Rags, a second-hand clothing store across from the café. Mel gives Kathy a scarf with the “wise” advice: “You’ll never find the warmth unless you venture out into the cold.” Kathy graciously accepts the scarf but then notices that between two scarved snowmen is an Adonis-like ice sculpture without one. Feeling generous(?), she wraps the scarf around the sculpture, bringing it/him (Dustin Milligan) to life. (Don’t worry—the scarf covers the naughty bits.)

On the plus side, the adult fairy tale kicks into gear very quickly, without much backstory or exposition (or explanation). On the negative side, the adult fairy tale kicks into gear very quickly, without much backstory or exposition (or explanation). The writing is puerile, and Jerry Ciccoritti’s direction club fisted.

The animated sculpture crashes into Reclaimed Rags and steals some clothing, including a vest with the name “Jack.” Thus, he is called “Jack.” The next morning, Kathy finds Jack standing in front of the diner. Thinking he might need help—given his strange behavior—she brings him inside … because that is what one does with psychotics who say, “I was made of snow, now I’m made of not snow.” (Scintillating dialogue.) When he claims, “I’ve never had food before,” one questions why she does not call for help or simply runs screaming into the street. Instead, she takes him to the local doctor, Dottie (Katy Mixon Greer), who concludes that he might be the snowman he claims to be (for this, she went to medical school?). They agree not to take him to the police because the sheriff tends to overreact. 

Kathy moves him into her house, and the newly sentient Jack immediately falls for her. The rest of the interminable film focuses on their growing relationship and his ability to learn anything by watching television. (This includes the discovery that vampires are afraid of crosses. Very Christmasy.)

An unpleasant and fairly ugly encounter with a snow-banked cougar, Jane (Lauren Holly), concludes with Jack’s innocent punchline, “Do you want me to get behind you and push?” Fortunately, this thread goes nowhere besides landing Jack a maintenance job at the middle school. The majority of his work is decorating the gym for the winter dance.

The film is a mix of styles—like a Christmas gift bag of assorted pointy objects. (Each is different, but all are painful in their own ways.) The occasional joke that lands is a holiday miracle. (Though a Mean Girls reference is pretty smart.) There are two montages because one is not nauseatingly enough. 

A grating subplot focuses on the sheriff hunting for the person who smashed the clothing store’s glass. The officer is a parody of a spoof of a send-up of a take-off on small-town law enforcement. In a film of mostly poor moments, the usually hilarious Craig Robinson is saddled with some of the most eggnog-curdling dialogue in this (or any) film: “You can’t buy me breakfast. It might influence the investigation.” (Hilarious.) Joe Lo Truglio’s deputy sheriff makes Barney Fife look like Hamlet’s Horatio. The café/ice cube scene might rank as the unfunniest bit in holiday history.

Chabert and Milligan work well together, play it straight enough, and do not lack charm. But the material is so painfully underdeveloped and wrong-headed that they cannot mine a moment of tension in the ninety minutes. His declarations like “I still don’t understand how all of this is happening, but I am so glad you were the one who found me” are only matched by his constant statement of “I love you.” Will she say it back? Can she? Is she ready? (Spoiler alert. Yes.)

Corralling the underdeveloped townspeople, the film builds to a lazy finale—a Frosty the Snowman/E.T./It’s a Wonderful Life rip-off. (Yes, they can claim homage to the last one, but it is not.) A strong cast fails to shovel this slushy mess. (Even the outtake bloopers are not funny.)

Perhaps the film has created a new sub-genre: the Frenetically Lugubrious Christmas Fantasy Rom-Uncom. (Ho-Ho-No, Thank you.) Next year, instead of holiday fare like Hot Frosty, Netflix, please just give us the cheese-of-the month club.

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A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots
A scene from 'A Christmas Carol' at Theatre Three 2024. Photo by Steve Ayle/Showbizshots

By Julianne Mosher

Celebrating its 40th year, Theatre Three’s production of Charles Dickens’ A Christmas Carol is as great as it is in the present, just as it has been in the past, and as it will be in the future. 

A pillar of the holiday season, not only in Port Jefferson but across Long Island, the Dickensian tale of Ebenezer Scrooge (Jeffrey Sanzel) and the ghosts of Christmas Past (Cassidy Rose O’Brien), Present (Scott Hofer) and Christmas Yet to Come (Steven Uihlein) is a story that taps into the hearts of the young and the old, making it the perfect way to kick off the season of giving. 

The theater opened its annual show on Nov. 9 to a packed-out house filled with an audience dressed in their best Christmas best. Young girls wore their red velvet dresses with bows, while fathers wore silly, ugly Christmas sweaters and Santa hats. Ushers greeted visitors to their seats in top hats and Victorian-era gowns, a nice touch to the show which is set in the mid-1800s.

When the curtains opened up, the stage turned into the dark, dreary streets of London where the poor and hungry begged for food. We are brought inside Ebenezer Scrooge’s office, that he once shared with the late Jacob Marley (Stephen T. Wangner), where he works during Christmas Eve — a holiday he absolutely despises. Scrooge’s nephew is Fred (Uihlein), a young man who is starting a family of his own, but who yearns for his uncle’s approval since it’s the last piece of his mother he has on earth after her death during childbirth. Scrooge, an angry, frugal man, wants nothing to do with the holiday, and isn’t shy about how he feels about it. Bah-humbug.

Scrooge has an underpaid, overworked clerk, Bob Cratchit (Ray Gobes Jr.), who is a man of simple means and a high spirit. Scrooge is unkind to him, as well, but reluctantly gives him off on Christmas Day. 

Later that night, Scrooge is visited by his former partner’s ghost. Marley warns Scrooge that he has the opportunity to avoid the same fate — a dire one where he roams the earth entwined in chains and money boxes because of his lifetime of greed and selfishness — with visits by three ghosts. He must listen to them or he will be cursed and spend eternity in the same purgatory as his friend.

The visits of the ghosts are done spectacularly. The Ghost of Christmas Past brings Scrooge back to scenes of his boyhood and young adulthood where we see the relationships between him, his family, his sister, Fan (Ash Stalker), Belle, his first love (Julia Albino) and his first job — an apprenticeship with Mr. Fezziwig and his wife (Scott Hofer and Ginger Dalton).

The Ghost of Christmas Present enters next and takes Scrooge to the homes of Fred and Bob Cratchit. Fred’s holiday party shows the group making fun of Scrooge, while the Christmas dinner with the Cratchit’s shows how poor the family of six copes with Scrooge’s poor wage. We meet Tiny Tim (Stanley Zinger), Cratchit’s ill son who the family prays gets stronger by the day. This opens Scrooge’s eyes. 

Enough so that when the Ghost of Christmas Future comes on stage, the audience lets out an audible gasp.

Upon the stage is a 13-foot grim reaper who towers over Scrooge and his grave. Scrooge watches his possessions be stolen and sold, while mourners mock him during his funeral. He begs for forgiveness to the reaper and he vows he’ll change for good. 

On Christmas morning, Scrooge is a new man. He sends a turkey to the Cratchit home, donates money to a charity he previously rejected and attends Fred’s Christmas party where he is welcomed with lovingly opened arms. The next day, Scrooge increases Cratchit’s wage in which Tiny Tim says the famous line, “God bless us, everyone.”

Theatre Three’s rendition of A Christmas Carol is always a treat, but this production was quite magical. Sanzel, who also serves as the show’s director, celebrated his 1,590th performance as the bitter, but complex, Scrooge — and he keeps getting better.

In fact, after performing the show for 40 years, the entire company has perfected the show. They have it down to a science with their special and unique adaptation, impressive set design (by Randall Parsons), stunning costumes (by Parsons and Jason Allyn) and fantastic lighting (Robert W. Henderson Jr.). After performing the show for four decades, we can’t wait to see how the next 40 look at Theatre Three. Don’t miss this one.

CAST and CREW: Julia Albino, Jason Allyn, Karin Bagan, Steven Barile, Jr., Kyle M. Breitenbach, James Bressler, Kelsie Curran, Ginger Dalton, Olivia Davis, Angelina Eybs, Sari Feldman, Roy Fleischer, Brad Frey, Jason Furnari, Christina Gobes, Ray Robes Jr., Skye Greenberg, Tim Haggerty, Kathleen Arabelle Han, Robert W. Henderson Jr., Scott Hofer, Patrick Hutchinson, Zach Kanakaris, Giovanni Ladd, Linda May, Cassidy Rose O’Brien, Randall Parsons, Mia Rofrano, William Roslak, Vivian Leigh Rumble, Jennifer Salvia, Jeffrey Sanzel, Aidan Sharkey, Ash Stalker, Amelia Theodorakis, Melissa Troxler, Steven Uihlein, Stephen T. Wangner and Stanley Zinger

Theatre Three, 412 Main St., Port Jefferson will present A Christmas Carol through Dec. 28. All tickets are $25 in November and range from $25 to $40 in December. To order, call 631-928-9100 or visit www.theatrethree.com.

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The 2024 cast of Theatre Three's 'A Christmas Carol.' Photo by Steve Able/Showbizshots.com
“Marley was dead, to begin with…”
The holiday season beings TONIGHT with the return of Long Island’s favorite holiday tradition!!!

Celebrate the season with the 40th annual production of A Christmas Carol at Theatre Three, 412 Main St., Port Jefferson from Nov. 9 to Dec. 28. Follow the miser Ebenezer Scrooge on a journey that teaches him the meaning of Christmas — past, present, and future. Tickets are $25 through November; $40 adults, $32 seniors and students, $25 children ages 5 to 12 in December. To order, call 631-928-9100 or visit www.theatrethree.com

For Tickets:

 

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Jeffrey Sanzel has portrayed Ebenezer Scrooge in 'A Christmas Carol' more than 1500 times. Photo by Steven Uihlein/Theatre Three Productions, Inc.
 A spirited foreword from Executive Artistic Director, Jeffrey Sanzel

By Stephanie Giunta

As the holiday season approaches, the air in Port Jefferson fills with the unmistakable spirit of Christmas—a joyous and abundant feeling that resonates throughout the community. Amid the festive hustle and the cherished traditions, we are thrilled to celebrate a special milestone: the 40th anniversary of Charles Dickens’ timeless classic, A Christmas Carol, at Theatre Three.

This enduring tale of redemption has been masterfully adapted year after year by Jeffrey Sanzel, who not only serves as the production’s director but also takes on the beloved and complex role of Ebenezer Scrooge. The cast’s heartfelt performances continue to attract both new audiences and long-time fans alike, with Sanzel sprinkling different nuances into the mix to keep the production unchanging yet fresh. 

In honor of the show’s ruby anniversary, I had the pleasure of speaking with Sanzel about his enduring passion for the role, some of his fondest memories, his unique adaptation of Scrooge, and more.

How many times have you played Scrooge in the production of A Christmas Carol?

The opening night of this year’s A Christmas Carol, November 9, will be my 1,590th performance.

How did you come about to play Scrooge? What first sparked your interest in the role?

I first played Scrooge when I was teaching at John F. Kennedy High School in Somers, New York. I produced and directed a student-faculty production. None of the teachers wanted to play Scrooge, so my assistant director suggested I do it. That was my first real encounter with the story beyond watching movies and cartoons growing up. I don’t think I had even read the story until then.

Are there any particularly memorable shows you can recall over the years?

During one performance there was torrential downpour, and we lost power. We ended up playing the rest of the show using lanterns. Another time, we had an onstage mishap and had to finish the show in the parking lot.

What are some of your favorite memories that you look back on?

I’ve worked with hundreds of actors over the years. Some of them grew up in the show—starting as The Girl/Want and going right through to Fan—even one who came back and played Belle.

There have been milestones—my 500th and 1,000th performances come to mind. Douglas Quattrock, a long time Bob Cratchit, his 500th was a special show. Probably, the most exciting and memorable was a special show we did in the 25th  anniversary season. It was the first year we had the new set—a brilliant design by Randall Parsons [complemented by Robert Henderson’s powerful lighting design]—the set we continue to use 15 seasons later. On the Sunday night of opening weekend, we had a performance just for A Christmas Carol veterans—actors, designers, technicians, front of house staff—all people with a connection to the production over two and a half decades. They were the best audience reacting to every new piece—a wall opening or steam coming off the goose.

In each year’s production, do you put a different twist on Scrooge or have you preferred consistency in persona?

As I am the adaptor, I am always reworking and tweaking the production. Sometimes I make large changes—rewriting scenes or removing dialogue and replacing it with tableau or music. As far as the character goes, I think it is influenced by who I am playing opposite. There was one year that I took a completely different approach to the character. I pulled him way back, took a lot of the vocal size and energy out of it. I was aiming to make him as real as possible. Unfortunately, it was a bit of a mess. My performance ended up lacking impact. Maybe it played well to the first few rows, but overall, I think I learned that a bit of “more” is important. With the exception of that year, the growth in the character has been gradual. I’m sure some years are better than others.

What are some lessons you have learned in playing a complex character like Scrooge? 

From a technical perspective, finding a moment in the few seconds offstage to take a drink of water. It’s a lot of talking!

I guess on a personal level, the theme is always how one person can make a difference for good or ill in the world.

We know that Scrooge has a change of heart and grows to love and exude the true meaning of Christmas. How does being a key part of A Christmas Carol impact your love and appreciation for the Christmas season?

My Christmas is A Christmas Carol. I am Jewish, so Christmas growing up was watching Christmas specials, maybe decorating a neighbor’s tree, that sort of thing. Obviously, after 37 years, I have a whole different experience. It is part of my life year-round and certainly from the end of September to the end of December.

Over the years, I’ve become a collector of A Christmas Carol memorabilia—books, tapes/DVDs, audio recordings, sketches and paintings, figurines, bookmarks, comic books, candle snuffers, trivets, board games…I’ll pretty much watch or read anything with A Christmas Carol in them. I’ve been to Dickens’ house in London. I met his great-grandson, Cedric Dickens, there.

I also have rituals. Before we go into rehearsal, I start by re-reading Tom Mula’s extraordinary Jacob Marley’s Christmas Carol—one of my favorite books. Immediately following every performance, I have to set-up for the next show—I won’t leave the building until that’s done. I’ve used certain props for over 30 years.  

Outside of A Christmas Carol, my favorite thing about the holiday is driving around looking at Christmas lights.

Theatre Three’s A Christmas Carol is a long-term collaborative effort. My predecessor, artistic director, Bradlee Bing; managing director Vivian Koutrakos, who has been the show’s champion even prior to my coming to the theatre, resident musical director, Ellen Michelmore, and associate artistic director, Brent Erlanson, both who have passed away, made contributions that still resonate with the current production. Actors, designers, and behind-the-scenes people give a piece of themselves and leave a mark on the production.

And then, of course, the audience that comes year after year. Having done it for nearly four decades, I’m now meeting the children of the people who saw the show as children. Paul Davis wrote a comprehensive study of the story, The Lives and Times of Ebenezer Scrooge (1990). He captures its power: “[Charles Dickens] may have framed our thoughts and established the broad outlines of the story, but the Carol is rewritten each Christmas, and Scrooge, an altered spirit, appears anew with each retelling.”

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Theatre Three, 412 Main St., Port Jefferson will present A Christmas Carol from November 9 through December 28. All tickets are $25 in November and range from $25 to $40 in December. To order, call 631-928-9100 or visit www.theatrethree.com.

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