Owning Scrooge
By Tom Wachunas
“I will honour Christmas in my heart, and
try to keep it all the year. I will live in the Past, the Present, and the
Future. The Spirits of all three shall strive within me. I will not shut out
the lessons that they teach.” -
Charles Dickens, A Christmas Carol (1843)
The last time I saw the Players Guild
production of A Christmas Carol was
in 2011. The ensuing years have not dulled this lustrous theatrical gem. In
fact, director and choreographer Michael Lawrence Akers seems to have sweated
the small stuff so that some facets of this year’s offering have acquired a
sparkling new radiance.
Joshua Erichsen’s
scenic design includes meticulously sculpted 19th century
architectural facades that swivel to reveal period interiors. When paired with
thrilling fly effects, the entire set takes on a dramatic dimensionality,
further animated by the authentic period costumes by George McCarty II, based
on original designs by Susie Smith and Patricia Hemphill. Then there’s the
wowing light and sound design by Scott Sutton, including very effective reverb
effects along with tight spotlighting that makes individual characters seem to
magically glow when they sing. A particularly spectacular and startling effect
is the projection of Jacob Marley’s ghostly face on to the door-knocker of
Scrooge’s house. The vivacious 11-piece orchestra, led by composer and
keyboardist Steve Parsons, provides a scintillating atmosphere for John Popa’s
clever and often compelling lyrics. And finally, the astonishingly talented
35-member cast rounds out this list of ingredients which add up to nothing less
than a benevolent conspiracy to enthrall.
The big ensemble
choral numbers are impressively stirring with their sonorous harmonies. And
when not front–and-center, the ensemble members are nonetheless adept at
portraying authentic townsfolk sincerely engaged with each other through
gestures, shared glances, and animated dialogue.
Matthew Horning
brings real warmth and earnestness to his role of Bob Cratchit. His singing of
“A Child Alone,” along with the equally earnest Adam Petrosino as Tiny Tim, is
one of the evening’s most tender passages. Amanda Medley plays Belle, Scrooge’s
erstwhile love. When she senses her hold on Scrooge slipping away, the
heart-piercing sweetness of her voice, tinged with palpable hurt, is riveting
as she sings “I Have To Know.”
In her airborne
rendering of The Ghost of Christmas Past, Sarah Marie Young is mesmerizing as
she sings “Walk With Me” to an incredulous-looking Scrooge in tow. There’s a
soothing resonance to her soprano tonality that imbues her character with
childlike innocence, subtly tempered with gentle wisdom and even a bit of
irony.
The tonal
muscularity in Bart Herman’s voice is well-suited to his roles of Mr. Fezziwig,
Scrooge’s former boss, and the Ghost of Christmas Present. As Fezziwig, he’s
the picture of magnanimous joviality. As the Ghost, he’s alternately ebullient
and authoritative in a cautionary sort of way.
Other strong
performances include Matthew Heppe in his dual role of Fred, Scrooge’s affable
nephew, and Scrooge as a young workaholic, especially engaging when he sings
“Ten Minutes More.” The evening is peppered with memorably funny scenes such as
the jaunty “Mister Scrooge.” The song features The Collecting Men - a trio of
charity solicitors played by Tyler Ferrebee, Doug Lisak, and Greg Rininger (who
also turns in a chilling portrait of Jacob Marley’s ghost) - who cavort and
cajole with quasi-vaudevillian glee, their harmonies reminiscent of old-timey
radio jingles.
This performance
marks the sixth appearance of Don Jones in the role of Ebenezer Scrooge. A
seasoned veteran of the stage, it’s clear that he’s never stopped fine-tuning
the nuances of his character to become more emotionally expansive. Here, he’s
wholly in the moment(s) as he progressively sheds a convincingly irascible,
selfish persona and steps into compassionate living. When he’s cruel, we
shudder at his vitriol; when remorseful, he breaks our hearts; when redeemed,
we’re giddy with elation right alongside. I think it fair to say that Jones (and
for that matter the entire cast and production staff) owns Scrooge in the same
way one would possess and care for a precious family heirloom.
Precious indeed,
this production. The Players Guild’s continuing commitment to this iconic story
is a necessary and brave tradition of holding up a much-needed light and
generous measure of grace in an ever-darkening world. It’s surely an artful epiphany
that blesses us, every one.
A Christmas Carol, The New Musical, with music by Steve Parsons, book and Lyrics by
John Popa (originated in 1997), at
Players Guild Theatre, 1001 Market Avenue N, Canton, Ohio, THROUGH DECEMBER 20,
2015 / Shows on Friday at 8:00 p.m., Saturday at 2:00 and 8:00 p.m., Sunday at
2:00 p.m. / Single tickets:$26/ 17 and younger: $19/ Seniors: $23 / Box Office
330.453.7617 / www.playersguildtheatre.com
PHOTOS, from top,
courtesy Players Guild Theatre: Don Jones as Ebenezer Scrooge / Sarah Marie
Young as Ghost of Christmas Past / (left) Bart Herman, Ghost of Christmas
Present; Don Jones as Scrooge
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