What happens when two of Broadway’s funniest talents step into the shoes of Hollywood’s most iconic stars? This December, comedy fans are about to find out when Marla Mindelle and Josh Sharp take on the roles of Nicole Kidman and Cate Blanchett in the outrageous new Off-Broadway satire, A Kidman Carol: A Gay Dementia on Australian Dames. And this is where it gets deliciously absurd—because the play doesn’t just poke fun at celebrity culture, it explodes it.
Mindelle, best known for Titaníque, and Sharp, who brought audiences Josh Sharp: ta-da!, will headline this limited workshop run at Theater 511 from December 17–21. The show is the latest fever dream from writer Kevin Zak, who reimagines Charles Dickens’ A Christmas Carol through the glittering, chaotic lens of Hollywood award season.
In this twisted yuletide tale, Cate Blanchett (played by Sharp) is visited by three spectral versions of Nicole Kidman (all portrayed by Mindelle), each representing different moments of fame, failure, and reinvention. Their mission? To teach Blanchett the “true meaning” of Awards Season—though, given the show’s title, expect far more chaos than Christmas spirit. The production gleefully spoofs dozens of cinematic and TV classics from both stars’ careers, including Tár, The Hours, Carol, The Undoing, Big Little Lies, Blue Jasmine, The Others, Notes on a Scandal, and even The Lord of the Rings. No performance or red carpet moment is safe from satire here.
Rounding out the cast are Renée Albulario, Robi Hager, and Phillip Taratula, who bring their own comedic timing to Zak’s glitzy fever dream. Behind the scenes, the creative team promises visual extravagance: Wilberth Gonzalez leads costume design, wigs are crafted by Krystal Balleza and Will Vicari, and marketing is handled by the aptly named company, Regular People. The production is managed by Envoy Theatricals and Samuel Dallas, with company manager Alex Dash and production stage manager Ryan Gohsman supported by deck stage manager Gracie Carleton. The show is produced in association with Bryan McCaffrey.
But here’s what might stir up some passionate debate: are we celebrating these movie legends—or skewering them just a bit too sharply? The premise alone invites laughter and controversy, depending on how you feel about turning revered performances into parody. Perhaps that’s the point—after all, what better commentary on fame and artistry than a play that turns Hollywood glamour into glorious chaos?
Tickets and more details are available at akidmancarol.com. So what do you think—is this the kind of self-aware satire the theater world needs more of, or does it push the boundaries of parody too far? Share your take in the comments—this one’s bound to divide opinions.
