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Growing up, my mother and I often traveled to Minnesota over winter break. When we could make time, we’d see at least one show. I still remember the soulful harmonies of “Black Nativity” at Penumbra Theater, and how enraptured I was by “Nutcracker Fantasy.”

Minnesota audiences are spoiled for choice for how to spend the weeks leading to the New Year — there are still abundant opportunities for soulfulness and rapture.

, Charles Dickens’ “A Christmas Carol”

 has arguably had the longest staying power among Christmas stories. Since its publication in the 1840s, “Carol” has seen countless adaptations across radio, television, film and theater. The Guthrie Theater alone has had four different iterations over 50 years.

Lavina Jadhwani wrote the current version, which has been staged since 2021. Jadhwani’s version includes moments other productions either gloss over or cut entirely, such as the Ghost of Christmas Present introducing Scrooge to spirits of “ignorance” and “want,” sickly children produced by human cruelty and neglect.

British carols including “The Holly and the Ivy” and “The Gloucestershire Wassail” help build the world of the play. These give us a glance at a Victorian England that isn’t so bleak, almost as if to say that though times are hard, this time of year can bring the best out of us — even if you’re Ebenezer Scrooge. 

This year, Scrooge is portrayed by theater veteran David Beach. I saw Beach in “Something Rotten” on Broadway, and his comedic chops have not waned in the near decade since. Beach’s Scrooge takes joy in screwing over his fellow man — early on, he mocks a pair of charity collectors, speaking in a mocking, high-pitched voice delivered with scenery chewing smarm. 

Later, he robs a young caroler. If he had a mustache instead of mutton chops, I could easily see him twirling his waxed bristles in the style of cartoon villain Snidely Whiplash. 

He’s a long way from the explosive Christmas joy he demonstrates at the end of the play. It’s clear why it takes supernatural forces to spook him into being merry and charitable.

Speaking of curmudgeons who learn the errors of their ways, 

 is just as recognizable a pop culture figure as his Victorian predecessor.

By my reckoning, I have not seen the Grinch at the Children’s Theater Company in at least 15 years. And, aside from watching a horrific NBC live TV production in 2020, I have not given the musical much thought.

Composer Mel Marvin’s music isn’t particularly memorable, and the lyrics and book by Timothy Mason, while based on the original text by Seuss, must strain to extend the brief text to fill a two-hour show.

The show is charming nonetheless, thanks to its cast’s dedication to the cartoonish world they inhabit.

Director Dean Holt, who pulls double duty as the narrator dog “Older Max,” avoids the pitfall of bulking the show out with pop culture references, but for the Grinch begrudgingly referencing the “gritty dance,” ad-libbing something along the lines “How is that still a thing?”

In the performance I attended, understudy Adam Qualls portrayed the titular character. Qualls’ Grinch is flamboyant and unexpectedly charming for a green Christmas hater — he is so appealing in the role that the children in the audience cheered his theft of Christmas. They also cheered his eventual redemption.

While the songs are repetitive, the children’s unbridled joy at watching “The Grinch” is itself something of a Christmas treat.

The History Theatre is serving up a season confection of its own — not Christmas-themed, but sweet nonetheless.

The St. Paul theater is offering second helping of an original musical: 

The musical follows the creation of brand mascot and icon Betty Crocker, created  by Minnesota company Washburn-Crosby (which would become General Mills).

Beyond being a fun trip down the memory assembly line, it also explores second-wave feminism, corporate marketing and the cross-generational value of cooking.

The show takes place over 100 years, from Betty Crocker’s creation to the modern era of social media influencer chefs. Music and Lyrics are by Denise Prosek, and are crafted to reflect the era each song appears in. These include a tin pan alley-esque, “I’m Here,” and a hard rock-inspired song titled “Just add an Egg.”

The show’s book is by Cristina Luzarraga, and the first act tells the story of the woman who invented Betty, Marjorie Child.

Act two follows several women who dream of being food scientists and cooks, dramatizing the marks they left on the food industry — and on feminism.

The clever writing includes an ideological conversation between feminist theorist Betty Friedan and home economist (and General Mills employee) Barbara Jo Davis. This makes for a brilliant vignette, arguing that the point of liberation is the ability to choose your destiny.

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Jacob Aloi

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Minnesota’s holiday theater offerings this year range from the soulful traditions of “Black Nativity” and the whimsical charm of “The Nutcracker Fantasy” to a comedic take on Scrooge at the Guthrie, a kid-approved Grinch at the Children's Theatre Company and the feminist and historical journey of “I Am Betty” at History Theatre.

Minnesota’s holiday stages offer a mix of joy, history and soul

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