Pool Noodle Pizzazz with "Reindeer Sessions" at the Kitchen Theatre

Last night I braved winter weather to fill a cup of holiday cheer at the Kitchen Theatre’s production of Reindeer Sessions by Eric Ulloa. The production proved to be a true romp, brought dynamically to life by two captivating actors and a fabulously coordinated design team. If you’re looking for tongue-in-cheek comedy accompanied by thoughtful reflection, this holiday play is the one for you.

I will not lie, as per my previous review, I had lost slight faith in the genre of “Holiday Play.” I had thought they were a shoe-in December crowd pleaser that most regional theatres would find too delectable to resist… that a Holiday Play could never really say much of anything beyond Greeting Card frivolities. I am happy to report that my Scroogelike behavior has now ceased. That I now believe in Christmas cheer, and I have indeed seen a holiday play with a genuine beating pulse. Bits aside, I left the theatre with much more joy than I had initially entered with, an aspect of live theatre that I will never take for granted.

Before the show, the Kitchen Theatre hosted a delightful holiday party, and the lobby buzzed with excitement and gratitude to share in this theatrical community. What I love about the Kitchen Theatre is the emphasis on the connection between the audience and the performer, easily fostered through the proximity to the story onstage that a black-box theatre allows for. The Kitchen Theatre is the perfect location for this quippy play, where every joke was met with jovial laughter and the attention of a warm Wednesday night crowd.

Plays can truly take you places you would never be able to visit in the real world, such as the privacy of a therapist’s office, to spectate someone else’s session. After suspending our disbelief against reindeer HIPAA violations, the audience is brought into the cushy office of psychologist Dr. Arbor, designed expertly by Tyler M. Perry. Under the direction of Rachel Lampert, the space is utilized imaginatively, transporting the audience through Blitzen’s elaborate stories and far beyond the confines of a clinical office. The entire production team has clearly done commendable work, with each theatrical element tailored precisely for this festive piece.

The concept revolves around Santa’s notorious reindeer “Blitzen” (portrayed by Karl Gregory) being sent to corporate-mandated talk therapy in response to a physical altercation with another reindeer on the job. Blitzen is the Hot Mess (Polar) Express that you can’t help but shake your head at– but still root for! As the ice surrounding his spiteful heart is melted with the help of the patient Dr. Arbor (portrayed by Erica Steinhagen).

As Blitzen’s entrance was preceded by a cacophony of Grindr notifications, I knew we were in for a dip into queer comedy chaos that I couldn’t be more excited about. Now, I was perhaps one of few chronically online audience members in their mid-twenties to break down at that one sound gag (one of several hilarious moments found in Lesley Greene's sound design). Nevertheless, this play has something to giggle and guffaw about across age demographics. Though the Kitchen does make mention on their website that the play is best suited for ages 16+ due to “an abundance of BBB (Blitzen Behaving Badly)”, which did elicit a chuckle out of me, and definitely proves true with Blitzen’s unabashed profanity.

This play is unafraid to take risks with its concept and content. As a young playwright myself, I have been previously cautioned about writing a therapist character into a play. Oftentimes, therapist characters are seen as serving a solely expositional purpose, drawing confessions out of the protagonist while being quite stagnant themselves. However, this play thrived beyond my expectations. Ulloa’s script was chock full of comedic expertise, invigorating dialogue, and insightful moments, elevating an absurd concept into a well-written play.

The play succeeds by understanding balance; it is not overly preachy, nor flippant about mental health services. It references tropes about therapy without overindulging in them, and it truly trusts its audience enough to challenge their humor and attention to detail. Regardless of the audience’s own relationship with therapy, the play is unafraid to de-stigmatize therapy while also noting the flaws of the mental health industry such as financial accessibility. Ulloa’s words elevate the play’s concept through a clear understanding of well-balanced pacing, whether it be comedic or earnest.

But there’s only one thing that can make an ambitious, witty, script excel off the page: fantastic actors. Dr. Arbor has stakes of her own (as well as her own buried secrets) that inform her sessions with Blitzen. Though Blitzen initially shows resistance to cognitive behavioral therapy, his immediate rapport with Dr. Arbor creates a compelling pull between these two characters. As a duo, Steinhagen and Gregory contrast one another wonderfully. These are two actors that clearly know how to take the energy of an audience and build upon it.

Gregory shows immense range as Blitzen, perfectly captivating the audience. Blitzen describes some despicable actions throughout the play, reminding me of the likeness of BoJack Horseman and the energy of “Fishes” (the Christmas-themed episode of FX’s The Bear). Despite his faults, Gregory’s Blitzen is such a captivating storyteller that it’s easy to become enraptured in his tales and invested in his sessions.

Additionally, Steinhagen’s Dr. Arbor provides a grounding presence for Gregory’s chaotic energy to bounce off of. Steinhagen kicks off the energy of the play with a terrifically performed monologue that will have audiences in her corner through the entirety of the play’s duration. Steinhagen charismatically brings the audience into the world of the play by visually bringing Ulloa’s understanding of comedic storytelling off the page.

As the Kitchen Theatre’s motto mentions “important conversations happen in the Kitchen,” it is always a joy to see the audience file out of the theatre in frenzied discussion of the elements at play. Though the concept seems trivial at first introduction, the payoff of self-reflection and attention paid towards processing our past is always worth examining– especially through theatrical means. Complicated feelings often bubble up through the holidays, and Reindeer Sessions provides a well-timed seasonal reminder that avoiding our memories is not the only option.

You have four more opportunities to catch this production, which runs for one more weekend: December 12th-14th! That’s ample antler time, so don’t miss it!