In downtown Charleston, ‘tis the season to go full circle. A couple of holiday offerings illustrate with whimsy and inspiration what coming together can do for us all.
Seasonal spin
American Gardens has opened with signs of great cultural promise–and a clear message that it means to make merry for all members of the community.
In addition to its hallmark train and Nutcracker Tea at the Charleston Place hotel, many of the property’s festivities will now take place in the recently opened park at 174 King St. between King and Meeting streets, among them a holiday market, nightly holiday lights and Saturday visits by Santa and Mrs. Claus.
Then there is the irresistible new addition: a vintage Bertazzon Venetian carousel boasting 20 horses that move up and down, a spinning teacup and a rocking chair. And it is a work of art, hand-painted and embellished in northern Italy by artists and expert craftsmen. Originally purchased in 1998 by an amusement park in Canada, it was sold to a traveling circus before ending up in Niagara Falls Amusement Park.
Beemok Hospitality Collection, the parent company of the Charleston Place, purchased it from the park. Two Charleston companies have been hard at work restoring it: TTS Studios, with support from Sisal Creative. On Nov. 29, it was unveiled to launch Beemok’s holiday offerings.
It’s hard to imagine any reaction to its winsome debut other than a double thumbs up — though you may want to dismount before freeing those thumbs.
Case in point: A similarly impressive, 48-horse marvel, Jane’s Carousel, tops off DUMBO’s Brooklyn Bridge Park. Purchased by developer David Walentas, it is the passion project of his design-minded wife Jane, who oversaw the refurbishment of the 1922 Philadelphia Toboggan Company creation, then paid for its pavilion designed by architect Jean Nouvel.
Rides on Jane’s Carousel with my then preschooler daughter confirm that its impact is well worth its modest $3 fare, a New York bargain if ever there were one. An instant happy pill, it dares to be giddy in the midst of urban churn. Once aboard, you hold on and marvel — no doom scrolling here. News cycles give way to an ever-changing vista of river and bridge and cityscape, talking heads to the joyful jangly brass of piped-in carnival music.
There’s this, too: the notion that the kids on this ride will relish a childhood memory of parks that are vibrant, vital, magical meeting places. With Charleston’s own holiday carousel spinning wonder in the spectacular, freshly-tilled American Gardens, this city’s children can hold fast to simple, transcendent pleasures, too.
In the round
That being said, the holiday carnival vibe isn’t only child’s play.
Charleston Gaillard Center’s annual Spiegeltent, the sparkling, cheeky red tent that now pops up on the Calhoun Street-facing lawn in December.
A bit of a Spiegeltent aficionado personally, these glamorous showstoppers have been following me — across the pond then down the Eastern Seaboard.
With origins in 1920s Weimar Germany, the Spiegeltent, which translates to “mirror tent,” started out as a traveling cabaret, making its way around Europe with artists like Marlene Dietrich, who famously sang “Falling in Love Again” with its seductive setting. In recent decades, they have frequently served as hubs for international arts festivals, offering a smaller stage for artists to experiment, often featuring local performers.
When living in Dublin in 2003, my Australian flatmate Vallejo, who was then the artistic director of Dublin Fringe Festival, was keen to plant one as part of the programming, having been dazzled by their mirrors and mirth while working at the Melbourne International Arts Festival.
Later, he brought a commercial version to New York City’s South Street Seaport. My former boss from the Brooklyn Academy of Music performing arts center was sufficiently besotted that she programmed one during her tenure at New York’s Bard Summerscape Festival.
That one comes full circle. It is the self-same one that Charleston Gaillard Center President and CEO Lissa Frenkel first encountered. Since 2022 it lands on the Gaillard lawn for the month of December since, with an aim of animating the grounds surrounding the venue.
This one, mind you, offers adults-only fare with the acrobat, burlesque Cabaret Royale by Underbelly, from London’s West End. Polished and warm-hearted, it lends well to the in-the-round with the communal tone it takes, gently drawing in audience members with charm and cheer.
These two downtown holiday offerings are a study in contrasts. But each has the potential to imbue our shared experiences with sparkle and magic. This isn’t simply seasonal mush.
Humans are meant to gather, and liveability studies demonstrate time and again that spaces of engagement and belonging are more meaningful — and more valuable, too.
This holiday, rather than go round and round in headlocked division, come together in a few stolen moments of joy. Catch a glimpse of yourself in a miniscule mirror. You’ll be happy you did.
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