Review: CBT’s ‘A Christmas Carol’ Returns — And So Should You

 

Just before the houselights faded for the opening night of Clarence Brown Theatre’s now-traditional staging of Charles Dickens’ A Christmas Carol, I had a few moments to reflect on just why Dickens’ tale endures and why audiences for theatrical versions return year after year as a seasonal tradition. It goes without saying that the Dickens novella owes its popularity to its compelling narrative of social outrage, regret for lost love, and the possibilities for redemption. In return, we have Dickens to thank for many Christmas-time traditions, if not the modern idea of the old-time Christmas. Although Dickens purists regularly complain, cinematic adaptations and theatrical stage versions have taken the Dickens story into new territory, in many cases, adding visualizations and effects that have become part of one’s expected narrative experience.

The current Clarence Brown Theatre version of A Christmas Carol which opened this past weekend is an adaptation by Edward Morgan and Joseph Hanreddy with music by John Tanner. This popular version first appeared on the CBT stage in 2016 and returned for three more years before the pandemic closure of 2020. It returned in 2023 and has now been freshened and energized for a 2024 run through December 21. Those theatre-goers who may have seen the production last year, or before, will certainly want to consider a return. This 2024 staging is CBT’s best by far—both in performances and visual delights.

Kevin Depinet’s inventive set has been a visual hallmark of this production, its focus point a huge Victorian clock with eerily moving hands, keeping track of Scrooge’s night of visitors and his redemption. On the narrative side, however, is the brilliant performance by Jed Diamond as Ebenezer Scrooge. Although he has taken the role in years past and made it notable, his performance this season is sublime in its range of nuance and focus. The key to any portrayal of Scrooge is making the subtle dramatic arc from bah humbug to redemption believable and heart-warming—Diamond is simply spectacular in this regard.

If Diamond has become one’s favorite Scrooge, David Brian Alley has seized that accolade in the role of Jacob Marley. To the delight of audiences, Alley’s Marley emerges from the depths, clad in chains and dripping with green light and smoke. Interestingly, Alley seems to have taken a re-vitalized approach to his lament, one that takes the role well beyond special effects or off-the-wall delivery. In a separate role of Old Joe, the “estate goods dealer,” the actor demonstrates the notable range of portrayals he is famous for at CBT.

This season’s production was directed by Patrick Lanczki who is CBT’s Production Stage Manager and making a second year of directing A Christmas Carol. Lanczki has apparently made some minute and subtle adjustments in both dialog and in staging focus to tighten scenes and tweak dramatic focus that seems to have added energy to the narrative arc and clarified salient points. In addition to the spirit-raising ensemble dance numbers choreographed by Casey Sams, the interpolation of seasonal music (music director Terry D. Alford) is not only essential in this adaptation, but perhaps even its dramatic glue.

It is said that Dickens loved ghost stories and the idea of spirits that visit the living. Had he lived into the 20th Century, he certainly would have taken to the visual possibilities that theatre and film directors have in fleshing out the spirits that visit Scrooge. Returning to this season’s production, but in a different role, Laura Beth Wells appeared as the Ghost of Christmas Present and made it a distinctive character with its own type of dramatic arc. Gabriela Bulka was the diaphanous Ghost of Christmas Past.

Important in the Morgan/Hanreddy script is the role of Fred, Scrooge’s nephew, played here with keen sensitivity by Joseph Coram, returning in the role from last year’s production. Laura Snyder portrayed Fred’s wife, Catherine, who must offer the important show of forgiveness, albeit with a hint of hesitation, one of the key moments of Scrooge’s redemption.

The cast is a large one, with 37 (or so) actors in major, minor, or ensemble roles that also require choral performance. Many of the Theatre MFA candidates are here, as are undergraduate performers and faculty professionals. Clay Cooper was an excellent put-upon clerk, Bob Cratchit, with Yashashvi Choudhary as Mrs. Cratchit. Chip Morris was the magnanimous Mr. Fezziwig with Lake Cooney taking the plum dual roles of Mrs. Fezziwig and the housekeeper, Mrs. Dilber. The young Scrooge was J.D. Joiner with Develyn Jayan as Scrooge’s lost love, Belle.

Needless to say, audiences also remember this production’s visual effects that drive the story line. From Marley’s otherworldly appearance and Scrooge’s bed that disappears into the stage floor, to dozens of subtle stagecraft tricks, sounds, and images, this production is awash in details that may be lost on first viewing. Costumer Liz Aaron has built on Bill Black’s original costumes. John Horner’s lighting and Joe Payne’s multitude of projections and sound effects run the gamut from intriguing to demonstratively additive to the soul of the production.

This production of A Christmas Carol is a compelling example of good staging getting even better. First-timers will love it—returning audiences will be glad they decided to take in the joy once again.

*****Recommended