“The Thanksgiving Play” by Larissa FastHorse, now at Stagecrafters Theater, is a razor-sharp satire about cultural sensitivity gone awry. The production, running through Dec. 8 at the company’s Chestnut Hill theater, delivers a hilarious yet thought-provoking take on the absurdities of well-meaning wokeness. 

This charming satire examines what it means to present a culturally sensitive Thanksgiving play at a time when people are increasingly over-sensitive to various cultural perspectives. Like any good satire, “The Thanksgiving Play” invites multiple interpretations. 

In his Nov. 28 review, Hugh Hunter focused on FastHorse’s script and the play’s plot, but the acting, direction and production values in the Stagecrafters show are worthy of a brighter spotlight. 

The play opens with Logan and Jaxton creating a Thanksgiving play for a local public school. They've hired an actor, Alicia, and roped in the history teacher, Caden, to help them with the production. The show is set on the first day of rehearsal, and the four of them are working together to devise and create their brand new take on the traditional Thanksgiving play.

First produced in 2018, this modern play is very much a product of its time. The script is straightforward and there are references to the news, current society, and race relations that make the play very poignant to modern audiences. This production at Stagecrafters sticks the landing on delivering an enjoyable thought-provoking evening.

Sarah Heddins brings a charm to the character Logan with touch points that feel genuine to the actress. Heddins is both expressive and adaptable in this role. Heddins skillfully navigates Logan's conflicting motivations, grounding the humor and bringing realism to the absurdity around her.

Daniel Romano fully inhabits Jaxton, making every cringe-worthy low and triumphant high feel authentic and endearing. Jaxton exudes golden retriever energy in his breath and physicality. From this loveable demeanor, Romano brings nuance to yet another character who wavers between motivations as Jaxton's impulsive thoughts stand out at times. 

Ryan Kirchner brings a wholesome and loving demeanor to Caden, the history teacher with a passion for playwriting. Ryan's hand gestures and physicality feel intentional yet effortless, with a precision that cuts through the entire show. As the show progresses, Ryan brings a neurotic and attentive energy to the room. Their chemistry with the other ensemble members feels delicious and insightful. It makes your heart swell with your passion for the character. 

Rounding out the ensemble, Samantha Leah Smith's portrayal of Alicia captures the whimsical charm of an airheaded ingenue. Smith’s impeccable comedic timing combined with a vocal fry and fluid physicality make Alicia ridiculous and lovable. In contrast to the chaos around them, Smith draws attention with subtlety and slowness by delightfully enjoying the world around her.

This show thrives on its ensemble and is enhanced by its technical elements. The actor’s chemistry is brought to life by Mariangela Saavedra's direction. Saavedra plays to the venue's strengths, with all the actors staged downstage and closer to the audience. Saavedra's sharp direction ensures the humor lands while leaving space for the play's biting social critique. The cast creates tableaus reminiscent of a Renaissance painting - each character is carefully poised in the scene. Saavedra works naturally with this set designed by Richard Stewart, which brings to life a cafeteria/auditorium. The show is centered around a cafeteria table where the cast takes advantage of this space that is carefully made a mess (in the best way possible) by Cole Altman. 

I would be remiss not to mention the projections that split up each scene within the play. The projections' length and repetition mirror the absurdity of Thanksgiving's sanitized history, adding to the humor and critique. Eric Gershenow's sound design perfectly complements the play's offbeat tone, keeping transitions lively and immersive. Claire Adams' costume design balances grounded realism with playful exaggeration, adding depth to the humble characters through unique, well-chosen accessories.

This 90-minute romp doesn't just entertain — it challenges viewers to reconsider what we celebrate and how. The show causes us to pay attention to who we are, what we bring to the table, and what it means to bring absolutely nothing to the table. This show is not for everyone, but I highly recommend it to anyone in the mood for some delicious satire and delightful physical comedy. With its sharp wit and absurd humor, “The Thanksgiving Play” offers an enjoyable yet pointed critique of cultural performance and modern identity,

Savannah Cathers

Avid Theatergoer

Chestnut Hill