By Meg Brazill, Standard Correspondent
Everyone has a favorite version of “A Christmas Carol,” whether it’s the 1951 film with Scottish actor Alastair Sim in the role of Ebenezer Scrooge, or the musical film adaptation starring Albert Finney (“Scrooge”) and Alec Guinness (“Marley’s Ghost”). A certain crowd will insist “The Muppets Christmas Carol” is the best. And what about George C. Scott as Scrooge? Great Scott! There are hundreds of stage, film and TV adaptations to argue over. Now Northern Stage has joined the ranks, tackling Charles Dickens’ classic tale of a greedy old miser who is haunted by four ghosts on Christmas Eve.
It’s no small task to mess with a treasured tradition but the 20-yearold company is more than equal to the task, having previously flown Mary Poppins to the stage and upended audience expectations with its thrilling, contemporary “Macbeth.” Northern Stage has a leg up with this production from its previous presentation in 2014. With the ability to design for its new home in the Barrette Center for the Arts, this production uses the technical capabilities of the theater to great advantage.
The set, designed by David Esler, plays a pivotal, and versatile, role in transporting the audience to 19th century England. Esler’s tall buildings ring the exterior of the set and provide the background for multiple locations, indoors and out. Winter light casts a blue glow on the buildings in the opening scene, and the dark shadows of tree branches wax both beautiful and frightening. It’s a wonderful night for ghosts and Esler sets us up for that — as well as a chill reminder that winter is coming: snowdrifts and frost climb the buildings.
Enter Scrooge (played by Bill Kux) who pronounces his profound disdain of Christmas to all those who cross his path, especially the hard working and beleaguered Bob Cratchit (played by Eric Bunge, managing director). Scrooge’s infamous rant, “Are there no prisons? Are there no work houses?” is a blast from the past that resonates with contemporary audiences. As the scenes unfold Kux interjects a surprising bit of humor, albeit biting, into Scrooge and foreshadows his potential for redemption with some fancy footwork. Last season, Kux was outstanding in his role as Dr. Watson in “Hound of the Baskervilles” as well. Bunge, too, excels as Cratchit, especially in scenes with his family.
The cast of “A Christmas Carol” performs. The production is at Northern Stage now until Dec. 24. (Rob Strong Photo)
No matter how often one has seen “A Christmas Carol,” it’s easy to recall the exuberant ending and forget that Charles Dickens’ portrayal of 19th century England is a dark, unblinking examination of class disparity and despair. It is Marley who comes clanging into Scrooge’s bedchambers, encumbered for eternity by the knowledge of what he might have done for the greater good of humanity. Life for the working classes was bleak and it was easy to find oneself condemned to debtor’s prison or a workhouse. Dickens himself was forced to work in a rat-infested shoe polish factory at the age of 12 when his father went into debtor’s prison so this tale has its roots in reality.
Accompanying Marley are four ghosts that float, slither, slide and almost fly around the room. Ford Evans’ imaginative choreography is embodied by the physically dexterous cast of spirits. In the opening scenes, the sound, designed by John Gromada and Ben Montmagny, erupts in a shower of thunderclaps. Coupled with the lightning, it is alarmingly effective but seems out of step with the snowdrifts. No doubt London’s rain is drearier than snow, but for a New England audience, thunder seemed jarringly out of place.
Marley rattles his chains which he will carry to infinity, bemoaning the life which brought him to this situation. “But you were always a good man of business, Jacob,” Scrooge, says to him. “Business!” cried Marley, roaring with anguish. “Mankind was my business; charity, mercy, forbearance, and benevolence, were, all, my business. The deals of my trade were but a drop of water in the comprehensive ocean of my business!” Phew. Marley really lays it on. The specter of Marley is almost like a hologram in the hands of Dan Kotlowitz, lighting and projections designer. Marley’s spirit is real enough to frighten.
It’s not long before the clock tolls one. The clock is a great example of the design elements conspiring to strike the right effect as the night goes on. It seems to speed ahead with its hands spinning wildly while Kotlowitz’s visual projections roam over the walls of Scrooge’s bedroom. When Susan Haefner arrives as the Spirit of Christmas Past, Scrooge — and the audience — are relieved. She is charming. All three Spirits of Christmas are strong but the Spirit of Christmas Present (Kurt Zischke) is outstanding. Of course, he has the assistance of Costume Designer Aaron Patrick DeClerk who has bedecked him in long green robes and with a wreath around his head. His outsized laughter is all his own, however, and his mirth is contagious. At the opening of Act II, the Spirit of Christmas Present, stands in a large open window, as a somewhat merry Scrooge makes sword play with an invisible opponent.
Through the wee hours of the morning, the spirits visit Scrooge and haunt him with scenes of his past, present, and what may be his future. When dawn at last arrives and the last ghost is gone, Scrooge awakes to find that Christmas Day is just arriving. He is “ …as happy as an angel…as merry as a school boy” and begins to go about making amends and changing his ways.
Almost all of the cast plays three and four roles; a children’s cast carries off a variety of roles as well. On opening night, six-year-old Paige Falcone won over the audience as Tiny Tim. An even younger Jackson Argenti alternates the role. Though not a large role, it is an outsized one as Tiny Tim captures Scrooge’s heart, and so is key to the change that takes place within Scrooge.
There are few quibbles to find in this production but those few seemed out of sync with such an otherwise well executed show. Heavy reverb altered the voice of the ghosts, perhaps to indicate their other-worldliness. Instead, it became irritating and made some dialogue difficult to comprehend. And the light projections which added so much depth and intrigue to the set were, at times, too much. On opening night, perhaps all the subtleties had not been tweaked sufficiently. The set in the final scene, however, was complete and seemed too simplistic compared with the sophistication of the other scenes. None of these, however, affect one’s appreciation of the show which touches audiences on many levels.
Scrooge, was a changed man and, “He became as good a friend, as good a master, as good a man as the good old City knew, or any other good old city, town, or borough in the good old world.” Kux injects a new vitality and physical comedy into his Scrooge, making us all very merry.
As the entire cast gathers on stage to celebrate Christmas, the journey the audience has undertaken with Scrooge remains with us. It is a rare tale of entertainment and education, preparing us well for the holiday season — and, even more, for the years to come.
The show runs 1 hour 45 minutes with one intermission. The production contains fog and haze effects.
Northern Stage’s production of “A Christmas Carol” is at the Barrette Center for the Arts in White River Junction through Dec. 24. For ticket and show time information call 802-296-7000 or go to northernstage.org.
This article first appeared in the December 1, 2016 edition of the Vermont Standard.