The Magic Of A Child's Christmas At The Irish Rep

At the Irish Repertory Theatre, A Child's Christmas in Wales is more than a lovely, nostalgic poem by Dylan Thomas - it's a holiday concert.

Charlote Moore adapted and directed the holiday classic, which melds beloved holiday carols with Thomas' piece about a snowy Christmas day in the Wales of his boyhood.

The show, which runs through January 2nd, has appeal for all but the grinchiest-children will love the mischief young Dylan gets into (including throwing snowballs at cats - cats too clever to appear); everyone will appreciate the lovely singing.

You know it's going to be festive as soon as you enter the theatre - I counted five Christmas trees of different sizes, and three lighted wreaths.

At less than 90 minutes, it's also a treat that's easy going down, offering just enough of a story mixed with song to captivate you without demanding much concentration.

It's sort of the theatrical equivalent of a lovely pudding.

"One Christmas was so much like another, in those years around the sea-town corner now and out of all sound except the distant speaking of the voices I sometimes hear a moment before sleep, that I can never remember whether it snowed for six days and six nights when I was twelve or whether it snowed for twelve days and twelve nights when I was six," it begins.

The audience sighs, recognizing this nearly as quickly as that other famous first line, "Marley was dead, to begin with."

Thomas' 1952 prose-poem has been staged, filmed and recorded - many theatres have created versions of it.

I even found it online at www.bfsmedia.com/MAS/Dylan/Christmas.html and classiclit.about.com/od/christmasstoriesholiday/a/aa_childswales.htm. You can buy illustrated books of it.

Originally written for Harper's Bazaar, in the poem Thomas recalls the story of a snow-covered world, filled with Useful Presents ("books that taught me everything about the wasp - except why"), and Useless Presents ("a false nose and a tram conductor's cap") tippling Aunts, and music.

It is partly written as a dialogue. "Were there Uncles like in our house?" The answer: "There are always Uncles at Christmas. The same Uncles"-that seem to be between an adult and a child.

There are several theatrical adaptations around - some dramatize it, deleting or adding characters. Moore's adaptation remains a declamation and concert, with songs here and there.

The performers speak, sing and declaim - there's no attempt to "dramatize" the poem itself. It's a smart choice. Who needs period costumes, artificial conflict and plot?

The story is just a small boy's Christmas.

Moore splits the recollection up among the five performers (without regard for gender).

They include a delightfully droll Simon Jones (Blithe Spirit "The Hitchhikers Guide to the Galaxy"); Victoria Mallory (A Little Night Music); Martin Vidnovic; Ashley Robinson; and Kerry Conte (Ernest in Love).

The women appear in festive red dresses, the men in suits or tuxes (costume design by David Toser).

They set a happy mood, entering singing "Deck the Halls," and never let their energies flag.

Musical director John Bell plays a polished grand piano, also dressed in a tux.

The performers all charm. Robinson's mischievous grin and floppy hair make him a perfect fit for bits highlighting young Dylan's spirited side, and Conte's soaring soprano adds luster to the adult nostalgia. Jones' wry delivery perfectly catches the balance of sincerity and wit; he keeps the show from oversentimentality.

You might sigh again when Thomas remembers saying "some words to the holy darkness." But the show, unlike the poem, doesn't end there - the cast ask you to sing with them before sending you on your way.

A Child's Christmas in Wales is very sweet, but Christmas treats are meant to be.