REVIEW: ONCE AGAIN, INVENTIVE PRODUCTION OF "A CHRISTMAS CAROL" @ STNJ OFFERS GREAT FAMILY ENTERTAINMENT

By Ruth Ross

Of all the productions of A Christmas Carol I have reviewed over the past 28 years—for local newspapers and my blog in 2010—I think my favorite version is the one produced by The Shakespeare Theatre of New Jersey in 2007, 2011, 2019 and again, now, in 2024. 

This version of A Christmas Carol, adapted for the stage by Neil Bartlett and stunningly directed by long-time company member Paul Mullins, is like nothing you’ve ever seen before. This unique production still eschews “no music other than Christmas carols, no special effects but fog, and no words other than those penned by Dickens himself,” as I wrote in 2011.

This year, Director Mullins imbues Bartlett's adaptation of the iconic tale with freshness and style. His eight-member cast (mostly veterans and one newbie) play 50 roles seamlessly and adroitly, providing sound effects that evoke ticking clocks, scratching quill pens, clinking coins, a light going on and off, and a creaking stove door!

Charlie Calvert’s spare but evocative set—movable doors and jambs, a bed that turns into a dining table, rolling counting house desks (right), a fireplace, a huge, chiming clock overhead, and  a backdrop of London cityscape dominated by the dome of St. Paul’s Cathedral, all framed by iron proscenium pillars and arches that suggest the Industrial Revolution—makes for easy scene changes and reminds us of the passage of time, an idea central to the story. Michael Giannitti's ghostly lighting adeptly directs the audience’s focus, especially in scenes where the ghosts stop the action so Scrooge can react or time pass. Kristin Isola’s handsome costumes really transport the audience to London circa 1843, complete with fog, ice and snow.

So, what’s different from previous productions? The answer lies in the cast. In his first appearance as Ebenezer Scrooge, Anthony Marble personifies nasty miserliness, without devolving into caricature. He’s onstage for the entire time, so our eyes are riveted on this man whose barking “Bah, humbug” has the force of a bullet meant to wound those he believes are too cheery about the holiday. His nastiness stands in stark contrast to the kind invitation offered by his joyful nephew Fred (Ty Lane) to Christmas dinner, snapping, “I’ll see you in Hell! I’ll see you dead!” And his three clerks tremble and rear back in unison (above) as he berates them and threatens termination for their expressions of holiday spirit. Best of all, his transformation as the specters appear is truly believable because Marble gives us a glimpse of how lonely this old man really is.

In a kaleidoscope of rotating roles, large and small, the other seven actors shine. Jeffrey M. Bender plays, among other roles, a jolly Christmas Present (right) and later, with Andy Paterson, as Mr. and Mrs. Fezziwig, Scrooge's first employers, while Emily Chang floats around the stage as the Ghost of Christmas Past in a white gown and bonnet. Celeste Ciulla is chilling as the ghost of Scrooge’s deceased partner Marley, who comes to warn him what will happen if the old man doesn’t change his ways. 

Andy Paterson as timid Bob Cratchit and Gina Lamparella as his feistier spouse are perfect as the very people on the losing end of the Industrial Revolution. And Fionna Roberson is luminous and heartbreaking as Scrooge’s former fiancée Belle, whom he throws over to pursue his real love: money. In addition to acting, the company’s lovely voices provide much of the play’s music and reinforce the holiday atmosphere.

Despite the modern emphasis on gift-giving, food and shopping, it may come as a bit of a surprise that Dickens originally wrote A Christmas Carol as a scary ghost story and a critique of the era’s social ills. Child poverty and its disregard by the monied classes especially galled Dickens. In this cautionary tale, Scrooge’s growl, “Are there no prisons? Are there no workhouses?” and his refusal to give money to the men soliciting funds for the poor as a way to “decrease the surplus population” reinforce a frequent message in Dickens' work about how Victorian society (mis)treated its most desperate and vulnerable members

Nevertheless, the appearance of ghostly spirits (right, Emily S. Chang as the Ghost of Christmas Past with Marble) and the projected death of Tiny Tim doesn’t detract from the fact that A Christmas Carol is great family holiday entertainment—although leave the little ones home for this one. Although the story seems to have little to do with the original Christmas, its twin themes of redemption and hope are most appropriate to the holiday season—whatever your religious persuasion might be.

When Bartlett’s adaptation was first performed in London, The Guardian wrote, “This is one of those rare and festive offerings for which no adult will need the excuse of a child in tow to book a ticket.” The same is true here; come alone or bring a child; this innovative take on A Christmas Carol is a fantastic opportunity for families and people of all ages to experience this classic tale in an entirely new way.

A Christmas Carol will be performed at the F.M. Kirby Shakespeare Theatre, 36 Madison Ave., Madison (on the campus of Drew University) through December 29. For information and tickets, call the box office at 973.408.5600 or visit www.ShakespeareNJ.org online.