Review: A CHRISTMAS IN OCHOPEE at New Native Theatre

Holiday plays often rely on nostalgia or spectacle to pull audiences in. A Christmas in Ochopee does something much harder—and more rewarding. It feels like being invited into someone’s home. Not a tidy, Hallmark version of Christmas, but a real one: noisy, crowded, funny, and occasionally on the brink of chaos.

Set in the Florida Everglades, Montana Cypress’s comedy centers on the Weetley family as they gather for Christmas. There’s fry bread on the table, unresolved tensions in the air, and an ever-growing list of distractions that keep things from running smoothly. A mysterious gator may or may not be carrying the spirit of a beloved rez dog, uncles argue, and love shows up in unexpected ways. Cypress writes with a sharp ear for Native humor—fast, affectionate, and unafraid to laugh at family dynamics while still honoring them.

Director Julia ROSA Sosa Chaparro keeps the production grounded and moving. The play has a lot going on, but it never feels rushed or sloppy. Conversations overlap naturally, scenes flow into one another, and the humor lands because the relationships feel real. The direction allows the comedy to breathe while giving emotional moments the space they need, which makes the quieter beats land just as strongly as the big laughs.

The ensemble is the heart of this production. David Valentine’s Uncle Leroy brings a boisterous energy that feels instantly recognizable, earning laughs without pushing too hard. Jalisa McKee’s Audrey offers a steady presence, giving the family a sense of emotional balance. Dallas Jennings adds a comedic twist as Officer Petey, while Mato Wayuhi’s Donnie Boy brings warmth and ease to the stage. The cast works together seamlessly, creating the sense that these characters have known one another long before the audience arrived.

The design elements support the storytelling without calling attention to themselves. The set feels lived-in, cluttered in a way that suggests history rather than decoration. Lighting and sound subtly guide the audience through shifts in tone, especially when the play leans into its more spiritual or surreal moments. Costumes feel true to character and place, helping the world of the play feel fully inhabited.

What stands out most about A Christmas in Ochopee is its refusal to explain itself. The play trusts its audience. It doesn’t pause to translate cultural references or smooth out rough edges for comfort. Instead, it invites viewers to listen closely, laugh honestly, and recognize the universal truth beneath the specificity: family is complicated, love is messy, and holidays tend to amplify both.

New Native Theatre’s decision to remount the show signals a meaningful shift toward creating Native-led seasonal traditions onstage. A Christmas in Ochopee earns its place in that vision. It’s the kind of play that feels different depending on where you’re sitting in life—and that’s exactly why it deserves to return year after year.

By the time the lights go down, the audience doesn’t feel like they’ve watched a holiday comedy. It feels like they’ve spent time with people they might actually know—and that’s the kind of Christmas story worth coming back to.

All photos courtesy of New Native Theatre

Minneapolis / St. Paul Awards - Live Stats

Best Musical - Top 3

1. 9 TO 5: THE MUSICAL (Eagan Summer Theatre)

12.4% of votes

2. URINETOWN (Buffalo Community Theatre)

10.7% of votes

3. CHURCH BASEMENT LADIES (Rags to Rags Productions)

7.5% of votes

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