One fascinating bit of Messiah trivia is that Benjamin Franklin attended a “Messiah’’ performance in Dublin in 1759.

However, just as porn flicks persist in having plots, Bring in On labors under its own tortured burden. In both instances, plot is hardly the reason d’etre for the work.

But the piece de resistance is a massive, multi-tiered staircase, with each step colorfully illuminated from underneath. It’s placed center stage and climbs virtually to the ceiling in grand Ziegfeld fashion – bravo!

There's an Edward Scissor Hands-like quality to the proceedings. And--be still my horror film-loving heart--did we just witness an homage to Nightmare on Elm Street?

The strength of the production came from Rachel Sue, who played Mary Lennox. Angry, rude and obstinate, she embodies both the Victorian idea of a child outside of normal conventions – as well one capable of creating herself, free from social expectations.

Greg MacKellan and the entire company must be congratulated for reviving an unfairly discarded masterpiece that will undoubtedly receive (finally) the recognition, accolades and large-scale treatment that it so richly deserves. Bravo!

Part of the reason it plays so strongly to our sense of nostalgia for a life never experienced is that Dickens was writing to revive Christmas traditions that he feared were lost. This ups the ante, with Dickens being Dickensian, before ere the word was coined.

A round-up of some of the top holiday productions across the San Francisco Bay Area including A.C.T., Berkeley Rep, San Jose Rep, TheatreWorks, Magic Theatre, SJ Stage, and more.

Christina Bianco’s channeling of everyone from Streisand to Judy Garland, Patti Lupone, Julie Andrews, Bernadette Peters, and Celine Dion to perform “Caberet” was spot on perfect. One suspects that even Patty Lupone would approve.

Next February’s world premiere production wins the Blanche and Irving Laurie Foundation Theatre Visions Fund Award.