The 14th Annual Joe Iconis Christmas Extravaganza
54 Below, NYC, December 14, 2024
Review and photos by Alix Cohen
54 Below was cheerfully decorated with red and green lighting bathing the venue. Carolers in bonnets moved from table to table. Two elves—“Mistletoe Munchkins” (Sarah Al-Bazali and Bailey Forman)—gamboled through the club disseminating candy. With her halo somewhat askew, the Christmas Angel (Annie Golden), opened and closed festivities.
To say this “Extravaganza” was an immersive production would minimize the effect of the 60 talented, gleefully crazed performers who made up Joe Iconis’ theater “family” (those who’ve appeared in his concerts and musicals). The merry band commandeered every corner of the premises with bonhomie. They provided song, dance, sketches, and choreographed mayhem, and sometimes interacted with the enthusiastic audience. Our heads swiveled like Linda Blair’s in The Exorcist.
Iconis explained that he’d a tough year and was compelled to take a lot of less-than-viable gigs, including one upstate just before tonight’s. He returned separately, but the company’s bus crashed in a snowstorm, survivors unknown. “I really needed to get together with my family,” he said sorrowfully. “Don’t let the smile fool you/I’m quite depressed” he sang as he pointed to the unoccupied microphones. Three homeless urchins straggled in and were allowed to stay because, hey! it’s Christmas.
As if things weren’t bad enough, Cyril Von Miserthorpe (Will Roland)—think Snidley Whiplash—then called in loans taken on by 54 Below worth over a million dollars. The landlord was particularly bitter about missing Rufus “who used to lick my face, but died at Christmas having run into the street after a rolling ornament.” His husband (not dog) later appeared sashaying in a silk dressing gown. Flamboyant in pink, “Fancy Tree” was misheard as “fantasy” and, taking it as an invitation, also showed up. Tree had her own sad tale of having been turned down by every window on Fifth Avenue.
Still the show must go on! “Joe’s Flashback” was a trio of songs dramatizing early life. Fleeing a histrionic, discouraging mother the hero (Owen Smith as Flashback Joe) hitched to his daddy’s family in Jacalope Holler, West Virginia, “where they appreciate art.” Mom (Jackie Sanders) unexpectedly arrived, careening into a squirrel, a fox, and a raccoon causing everyone’s death. Iconis showed his family’s ashes in a hollow plastic candy cane.
There was considerable original material (Iconis can write to any theatrical moment) as well as Italian, Hawaiian, Jewish, and Spanish salutes to the season and a roster of familiar tunes such as “Here Comes Santa Claus,” “Rockin’ Around the Christmas Tree,” “Sleigh Bells,” and “O Tanenbaum.” Katrina Rose Dideriksen sang the hell out of “Please Come Home for Christmas.” Bartender Mr. Macabee (Jeremy Morse) couldn’t resist the chance to sing. Krampus (Lilly Tobin), who was in a great costume (a horned anthropomorphic figure who, in the Central and Eastern tradition, accompanies Saint Nicholas) oozed “Baby It’s Cold Outside” to Cyril. A drunk, raunchy Mrs. Santa Claus (Lorinda Lisitza) fronted a gyrating chorus of Jingle Sluts. Stumbling, she climbed on a table.
Santa (Jason SweetTooth Williams), depressed by competition from “Sweet Baby Jesus,” took a seat at a banquette while Iconis and company tried to cheer him up. Jesus himself (Bill Coyne) arrived lasciviously and literally stretched across the bar area wearing a loin cloth and shades. (There was a miracle in the offing.) Mary Magdalene (Liz Lark Brown)—with a Yiddish accent—stripped down to shortie sequins and performed “Santa Baby” accompanied by her scantily clad backup boys. There was even dancing candy!
Needless to say, Iconis’ missing cast arrived, Cyril found the spirit of Christmas, and everyone’s holiday dreams came true. Directed by longtime collaborator John Simpkins, the show was an exuberant love fest—irreverent, salacious, silly, clever; it’s a two-and-a-half-hour musical show, not a concert. Iconis sat at the piano benevolently watching his creation like The Wizard of Oz. John Simpkins’ Hellsapoppin Production was masterfully directed madness. The choreography by Christine O’Grady and costumes by Brendan McCann added immeasurably to the proceedings. It was an “Ex·trav·a·gan·za”—an elaborate and spectacular entertainment or production—which this was in spades. Put me down for next year!
