‘Goblin Market’ @ Theatre 3’s “Theatre Too”

Photos by Jeffrey Schmidt

—Jan Farrington

Theatre Too’s Goblin Market has so many theatrical “niche” audiences—and is such a surprise delight—that I’m having a “where to begin?” feeling. Who needs to hear about this one before it’s gone? Not just for the vintage poetry, for the pre-Raphaelite fantasy, for the spooky supernaturals, for the ruffly underwear, or (but perhaps above all) for the gorgeous chamber music (with operetta-ish tendencies) that’s played with feeling and delicate balance by the wonderful Vonda K. Bowling and friends (Molly Wang, cello; Kami Lujan, percussion), and sung in bravura style by the show’s two performers, Elizabeth Kensek and Jessica Humphrey.

That’s a long sentence, but I’m excited.

And then there’s the cozy Victorian stage set, with a multi-frame picture window that keeps us “peeking” into the story before, having hooked us, it lets us in (designer Jeffrey Schmidt’s ingenious idea). The set’s darkly-sparkly drapes work for both spooky woodlands and the cozy cottage interior, and flickering projections (also Schmidt) set off the surrounding shadows. Add Christie Vela’s costumes, from flowery farm-girl dresses to dark capes and sexy undies, and there’s plenty of period atmosphere.

That’s a lot to take in (not a complaint!) from a 75-minute show. Directed with a terrific sense of momentum by James Chandler—with Tilda Grace’s fine choreography—Goblin Market is an adaptation (by composer Polly Pen and writer Peggy Harmon) of poet Christina Rosetti’s 1862 poem—30 pages dedicated to “My Mother, in all Reverence and Love.” And it is a poem a Victorian mom could love, a story about two sisters alone in the world, full of the snares and delusions that can “ruin” young women, and infused with the deep, one-of-a-kind love that sisters alone know.

This is classic “into the woods” stuff, good for a proper tale from medieval times to Shakespeare to Sondheim. It begins in literal word “play,” follows ancient cycles of danger, loss, and return—and ends in vivid memories they will pass along to their children. It lies on the borderland between child-like imaginings and adult realities, between cheery games and serious choices that can make or unmake a life. Sisters Lizzie and Laura have no one to guide them, and the woods are full of tricksters, little goblin men passing by with luscious fruits to sell—even if a young lady has only “a golden curl” to pay them with.

Polly Pen’s music complements the lush rhymes and word choices of Rosetti’s poem, and at times might remind you of the sprightly or tender songs Gilbert & Sullivan wrote for their female characters. Bowling’s piano blends beautifully with Kensek’s and Humphrey’s crystalline vocals, which are delivered as only true actors can: they don’t lose a word of Rosetti’s fast-moving lines, nor their meaning.

To recap: Laura and Lizzie, a pair of sisters like “two blossoms on one stem,” live contentedly together in a wood, where they sweep, and cook, and milk the cows. It’s a tiny paradise…but Laura, who lately hears the goblin men passing (while Lizzie does not), is disturbed and pulled away by feelings of longing and desire for…she isn’t sure. It’s a sensual enchantment that begins in a yearning for sweet treats, but we feel the undercurrents. These powerful desires won’t always be about apples and cherries.

Lizzie closes her ears to the goblin’s seductive chants, but Laura is caught up, with predictable results. Remember Jeanie, Laura’s been telling her, “who should have been a bride” but went to the Goblin market…and thereafter…well, you can guess.

Lest this all sound too Puritanical and preachy, it’s not—but rather a lively and often warm-hearted sample of the Victorian’s “it’s complicated” views of our sensual nature. The sisters are light-footed and charmingly human in their emotions. What’s more, it’s not entirely a warning about sensuality (and by inference, sexuality): Rosetti also does a vibrant, compelling job of turning them (and us) onto the real pleasures of discovering these other “treasures” of the human experience.

WHEN: November 13-December 7, 2025
WHERE: Theatre Too (downstairs @ T3), 2688 Laclede St., Dallas
WEB:  theatre3dallas.com