When Andrea Arvanigian soulfully sings “Love is who we are and no season can contain it,” from Sara Bareilles’ sweet 2011 song “Love is Christmas” in the second act of The Barn Theatre School’s Christmas Cabaret, it’s impossible not to feel the truth of those lyrics straight from the heart of all the performers most regularly seen here during the summer months.

In the mid-century American classic play “The Miracle Worker,” by William Gibson, the child Helen Keller punches, kicks, flings food, throws whatever’s in her clutches, pulls hair, screams, wails, and otherwise throws physical tantrums like a feral animal. She’s a brilliant yet obstinate, wildly spoiled child in her upper-class, post Civil War Alabama home in which all her kin are cousin to General Robert E. Lee. From a baby with enormous vitality to a deaf-mute child, she is pitied for her disabilities caused by illness, and since none of the finest quacks money could buy helped, her family nearly ruins her for any kind of productive life.

The Nutcracker, like so many holiday traditions, is an experience rich with nostalgia. For many, the classical ballet is the only ballet they’ve ever seen; for others, it’s an annual tradition that began in childhood; for others, the music, characters and movement summon memories of the times when they’ve played or danced it themselves.

Farmers Alley Theatre couldn’t possibly have known when they selected their season that December 2017 would offer the perfect cultural moment for a light-hearted jukebox musical in which three iconic female archetypes beaten down by the misbehaving men in their lives risk everything to strike out on their own — only to find beautiful harmonies and support in each other.