Traditions are all about customs and events made familiar through the passage of time. By that definition, the Clarence Brown Theatre’s production of A Christmas Carol certainly qualifies in a big way. Although stage versions of Charles Dickens’ classic novella from 1843 have been part of the company’s holiday schedule for decades, the current production—adapted by Edward Morgan and Joseph Hanreddy—is now in its fourth season and is already firmly rooted in holiday tradition for both the Knoxville audience and for CBT performers and staff. While there is generally no escaping the many film and television versions of A Christmas Carol during the holiday season, this spirited theatrical version is definitely recommended for its energetic storytelling, its visual intrigue, and its comfort of traditional Christmastime music.
The passage of time is also key to the main premise of this production directed by Kathleen F. Conlin. The sweeping, atmospheric Kevin Depinet set (lighting by John Horner) features a huge Victorian-style clock face with glowing numerals, its hands tracking the inevitability of time as miser/moneylender Ebenezer Scrooge is forced by the three Ghosts to relive his past and confront his future with his redemption as a human being hanging in the balance. Sound, too, is important in supporting this passage of time, from the subtle suggestive ticking of a small clock to the clinking, clanking of the huge one—sound design by Mike Ponder.
Traditions also exist for the cast and crew with a number of them returning from previous seasons from the resident company’s MFA actors, UT Theatre faculty members, undergrad students, and resident and guest actors.
A familiar and welcome face as Ebenezer Scrooge, Jed Diamond returned this year after taking on the role of Jacob Marley in last season’s production. Diamond, head of Acting in the UT Theatre Department, has perfected the pivotal character arc of Scrooge starting with just the right combination of miserly meanness and deep-seated loneliness that has been brought about by unfortunate life decisions. As Scrooge is confronted with those decisions in his past, Diamond brilliantly moved from the confrontational surprise of Jacob Marley’s visit to weakened hesitation, from reluctance to realization, and ultimately, to miraculous transformation.
In the role of Jacob Marley, David Brian Alley returned to the cast this year after taking last year off to do his Crumpet, the Elf, in CBT’s Santaland Diaries. Hardly needing eerie green light and an entrance from the nether-regions for his woebegone, chain-dragging Marley, the versatile Alley made the role distinctly his own. Taking multiple roles, as did most of the cast, Alley returned later as a colorfully constructed Old Joe, the “dealer in estate goods.”
It is always a pleasure to watch Roderick Peeples work his delivery magic, which, in this case, was the role of Mr. Fezziwig, the textile merchant where young Scrooge apprentices. Fezziwig is an important character in this adaptation, called upon to suggest that capitalism unrestrained by humanity drags down one’s soul: “It’s not just for money alone that one spends a lifetime building up a business…”
Although one senses that the adaptors struggled with how to illustrate the three Ghosts that visit Scrooge, there was no struggle in admiring the CBT portrayals. Peeples made his second appearance in the production as the Ghost of Christmas Present, with the versatile Brittany Marie Pirozzoli offering a dazzling Ghost of Christmas Past.
Also pivotal in this adaptation is the role of Fred, Scrooge’s nephew—a role given an open heart and forgiveness in the face of Scrooge’s hardness by Brian Gligor for the last few seasons. Also called upon to forgive an old fool is Fred’s wife, Catherine, gracefully portrayed by the returning and versatile MFA actor Aleah Vassell.
In his third season as both an MFA actor, and in a continuing excellent portrayal of the put-upon Bob Cratchit, was Collin Andrews. Christine Sage, recently joining the CBT MFA program, was a first-time bright spot as Mrs. Cratchit.
One of the charms of this production is the host of colorful side-story characters that practically ooze personality. Returning from last season’s A Christmas Carol was the versatile Laura Beth Wells as housekeeper Mrs. Dilber, and Mrs. Fezziwig. Brenda Orellana was called upon to make a significant dramatic leap as both Scrooge’s lost love, Belle, and as the not-so-timid Miss Lucy, hoping to connect with Brady Moldrup’s Mr. Topper. Moldrup also appeared as Young Scrooge.
There is a distinct episodic feel to CBT’s A Christmas Carol made comfortably rhythmic by the addition of Christmas carols arranged as atmosphere for performance by the ensemble. These arrangements (music by John Tanner) was given life by CBT music director Terry Silver-Alford, and complemented by the ensemble in costumes by Bill Black and choreographed by Casey Sams.
The tradition of Clarence Brown Theatre’s A Christmas Carol—and a recommended one even for the non-traditional— continues through Saturday, December 21. Tickets and Information
Holy moly…is everyone not just sick of this show year after year after year??? They are even using the same set pieces. Come on, CBT, there are lots of other options out there…give us some VARIETY during the holidays!