Photos by Nile Scott Studios
Charles Dickens’ A Christmas Carol − Adaptation by Steve Wargo with Musical Arrangements by Dianne Adams McDowell; Directed by Steven Maler; Musical Direction by Dan Rodriguez; Scenic Design by Scott Bradley; Choreography by John Lam; Lighting Design by Jessica Elliot and Eric Southern III; Sound Design by David Remedios; Costumes by Fabian Fidel Aguilar. Presented by Commonwealth Shakespeare Company at Emerson Cutler Majestic Theatre, Tremont St., Boston, through December 23.
By Mike Hoban
I’ve been a huge fan of Dickens’ A Christmas Carol ever since I was a young boy, although I must confess that my deep appreciation didn’t come from reading the novella. Instead, it was the delightful cartoon musical Mister Magoo’s Christmas Carol that first captured my heart and imagination. Featuring a musical score by legendary Broadway composer Jule Styne (Gypsy, Funny Girl, and dozens more), the animated production entertainingly conveyed the story’s central message of redemption and learning to care for others in a way that even an eight-year-old could understand. From there, I graduated to the iconic 1951 Alastair Sim film, and each holiday season try to incorporate one or both into my holiday-themed viewing to rekindle some of that nostalgic Christmas spirit.
Commonwealth Shakespeare Company has delivered an early holiday present for those hoping to jump-start that feeling with its staged version of the classic. Steve Wargo’s adaptation hews closely to the original text, preserving it as a period piece, and features a score brimming with traditional Victorian-era Christmas carols (with spectacular arrangements by Dianne Adams McDowell). Veteran Boston actor Will Lyman plays Scrooge with all the cold-heartedness of a (more cultured) Steven Miller,”warning all human sympathy to keep its distance,” and quashing any expression of cheer in those unfortunate enough to enter his orbit.
An early scene in the counting house encapsulates his disdain for the human race, as he: threatens to fire his assistant, Bob Cratchit (Robert St. Laurence), for daring to add a lump of coal to the stove to warm the frigid office; abuses two solicitors (David Jiles, Jr. and the always welcome Kathy St. George) who come to his office to seek donations for the disadvantaged, where he delivers the classic line, “If they would rather die, then they had better do it, and decrease the surplus population”; and completes the heartlessness trifecta by rebuffing and insulting his nephew Fred (a relentlessly cheery Jared Troilo), who has come to invite him for Christmas dinner.
Scrooge’s journey into humanity begins with a ghostly encounter with his old business partner, the seven-years-dead Jacob Marley (Damon Singletary), a frightening, green-glowing apparition who “wears the chain I forged in life” and hopes to prevent Scrooge from a similar fate. Marley soon has him cowering with fear − and with good reason − if Scrooge does not change his wicked ways, he will suffer a similar fate.
Under the threat of eternal suffering, Scrooge reluctantly accedes, and the painful healing process begins, courtesy of a trio of the spirits of Christmases Past (Kathryn McKellar), Christmas Present (Carolyn Saxon), and Christmas Yet To Come (a two-story Grim Reaper puppet).
The able cast is loaded with some of Boston’s top musical talent, but from a storytelling perspective, the production lacks the emotional kick this revered tale of spiritual reclamation deserves. It’s the theatrical equivalent of a watered-down 12-year-old Scotch. It’s still good, but one expects more depth. Which isn’t to say it’s not worth seeing. On the contrary, it’s a musical and visual feast.
Director Steven Maler has brought back much of the same cast from last year, including Boston musical theater stalwarts Saxon, Troilo, St. George, and Kayla Shimizu, as well as opera performers Laura McHugh, Neal Ferreira, Tamara Ryan, and Boston Lyric Opera regular McKellar. With that vocal firepower, coupled with Norton and IRNE Award-winner Dan Rodriguez’s musical direction and John Lam’s stellar choreography, Charles Dickens’ A Christmas Carol delivers a handful of awe-inspiring musical numbers, including traditional and lesser-known songs. Accompanied solely by music director Dan Rodriguez’s upright piano, highlights include “Carol of the Bells” and “The Gloucestershire Wassail,” the latter of which is super-charged by the performances of Ferreira and McHugh (who steals every scene she’s in). The more traditional carols (”Silent Night”, God Rest Ye Merry Gentlemen”, etc.) are equally enjoyable.
With Christmas fast approaching, CSC’s A Christmas Carol is a great antidote to a year in which the idea of lifting up the least fortunate has been shredded, and it’s a great way to get into the holiday spirit. For more information and tickets, go to: https://commshakes.org/production/scrooge25/
