Though The Jewelry Box is the story of one particular little Black boy buying a Christmas present for his mother, by distributing this production online the San Francisco Playhouse has given us all a gift. Holiday season brings up a range of emotions; never more so than in the middle of a pandemic when we are likely isolated from the people with whom we’d most like to celebrate. This warm, human, and utterly heart-melting play is performed and co-written by Brian Copeland, who’s Not A Genuine Black Man still echos in my mind despite the dozens of solo shows I’ve seen since. Though there are storytellers who depict their assortment of characters with more physical distinction, Copeland has a singular flair with language and the ability to paint vivid and lasting images with his words. Moreover, he has a fantastic sense of humor and periodically draws on his stand-up experience to share a little secret with the audience as his adult self.
The Jewelry Box covers an early chapter in Copeland’s life, but it stands complete on its own. We’re in 1970s Oakland where a six year old Brian has spotted a wooden jewelry box he knows will make his Mom smile. His family had been forced to move four times in a short period and personal possessions had been left behind at each stop. He sets out to raise the $11.97 he needs to purchase the box, showing himself to be a tiny but mighty entrepreneurial spirit. We get to meet many of his neighbors — some more understanding than others — sketched out in detail with the colors filled in by mixing Copeland’s artistry with our own imagination.
David Ford directed the original production for The Marsh Theater. The intimacy of this project makes it well suited for the streaming environment where San Francisco Playhouse’s Artist Director Bill English did the editing. For this rendition, English balances mimicking the theater experience with more intense close ups. No set is necessary as Copeland builds his own landscape with some sound effects and lights fully focusing the picture. The choice of a slightly baggy primary colored striped shirt makes it easy for Copeland to embody his much younger self.
No reflection on all those theaters who will once again stage A Christmas Carol or A Child’s Christmas in Wales, but the San Francisco Playhouse deserves praise for finding such an appropriate fresh offering for this unique holiday season. Class and race play important supporting roles in The Jewelry Box, evergreen themes that have taken on renewed significance. Two COVID compliance officers kept Copland and the production team safe and a brand new Equity agreement made it possible for this to be seen online for a limited time. The final screenshot is a long “Heroes List”: a visual reminder that now more than ever we need to pull together and keep the performing arts healthy as well. The only element I dearly missed was the laughter of my fellow audience members. But I know for certain it was there.
The on-demand video stream of The Jewelry Box is available through Christmas day. Single tickets are $15-$100. Call 415-677-9596, or visit https://www.sfplayhouse.org/sfph/2020-2021-season/the-jewelry-box/. Subscriptions in support of the San Francisco Playhouse season may also be purchased.
The Unforgettable Line 
The Thanksgiving Play
In the right hands, satire can be a terrific educational tool. This was clearly in the mind of award-winning playwright and activist Larissa FastHorse when she chose to go broad with The Thanksgiving Play. Pained by the way the typical Thanksgiving story obliterates the voices of her people, the Sicangu Lakota uses laughter rather than lecture to take on all those insulting myths. This is the award winner’s first New York production and it’s a worthy entrance. Through her four well-intentioned if off-base characters, she blows up those oft-repeated stories of pilgrims showering America’s indigenous peoples with respect and side dishes. The results are uneven and she’s likely preaching to at large number of regular choir members, but a good time can still be had.
Greg Keller, Jennifer Bareilles, Jeffrey Bean, and Margo Seibert; photo by Joan Marcus
The economical cast of achingly progressive characters are developing a holiday performance that celebrates Native American Heritage month for a elementary school audience. The director of this play within a play is Logan, an anxiety prone vegan who has pulled together an array of small niche grants in order to fund her vision of a more honest Thanksgiving story. Her school play will co-star Disney-obsessed actress Alicia and Logan’s yoga-loving street performer boyfriend, Jaxton. Rounding out the “creative team” is Caden, a playwright-wanna be and first grade teacher. For the majority of the 90 minute runtime, these well-intentioned souls improvise and brainstorm their way towards an increasingly awkward outcome. Their endeavors are occasionally interrupted by wildly off-kilter musical numbers covering all the cringe inducing story elements they are trying to leave behind.
Under the direction of Moritz Von Stuelpnagel, the dialogue starts out at such a high pitch it doesn’t have enough room to grow. Jennifer Bareilles as Logan is a constant bundle of nerves. Greg Keller’s Jaxton’s oozes PC doctrine from every pore. Margo Seibert’s Alicia is such an airhead she’s perfected the art of looking at the ceiling. And Jeffrey Bean’s Caden is like a Jack Russel terrier, excited just to be in their company. All four quality actors do their best to add range and fair better with the piece’s physical humor. These moments includes an uncoupling ritual and reading aloud from several fantastically illustrated textbooks.
The design team mostly strikes the right comedic notes. The single set by Wilson Chin combines classic classroom elements with some of the most appropriately inappropriate theater posters. Costume designer Tilly Grimes delivers equally well with liberal casual and tacky pageant wear. Lighting created by Isabella Byrd highlights the action as it shifts from faux intense to intensely faux.
As both a comedy and a lesson plan, this production of The Thanksgiving Play would likely earn a B- for its insufficient build and variation. But it has heart and successfully serves as a reminder that the upcoming family holiday is fraught with misunderstandings that go far down and way back. Certainly if you’ve ever had a Caucasion friend who built a sweat lodge right next to his jacuzzi to honor “their heritage,” you will recognize FastHorse’s creations. And even if you haven’t, you’ll be reminded that what you’ve learned about US history is not necessarily the full story.
Performances are scheduled to run through November 25 at the Peter Jay Sharp theater at Playwrights Horizons. For tickets and information visit https://www.playwrightshorizons.org/shows/plays/thanksgiving-play/.