Review: A Christmas Carol, A Live Radio Play, Music Theatre of Connecticut
The story of Ebenezer Scrooge, all too familiar as it may be, always has something to tell us, which is one reason why it is the inescapable chestnut of every holiday season. Charles Dickens created a figure in his A Christmas Carol that has long been celebrated for its unflagging resonance. This year, two productions not too far from New Haven have re-imagined the story to achieve different effects.
The staples are the same—the humbugging miser, the spirits of Christmases past, present and future, the ghost of Marley, the poor, and the uplift of seeing a soul restored. The tale has had any number of updates and celebrity turns, much as every singer worthy of the name has assayed an album of Christmas tunes sooner or later. And yet there’s a seriousness to the tale that saves it from being yet another helping of seasonal schmaltz.
At Music Theater of Connecticut, Joe Landry has given Scrooge and company the same treatment he gave to the great and unavoidable American Christmas story, It’s a Wonderful Life: namely, Landry has turned Dickens’ classic into a script for a radio broadcast. The conceit of the show is that, rather than watching a straight-forward play, we are watching actors “on the air,” so that we become a studio audience for a fictitious broadcast. Part of the fun of that set-up is that the actual actors in the play we’re watching are performing as radio personalities first, and Dickensian characters, second.
Mike Boland plays Freddie Filmore, who enacts Scrooge; Elissa DeMaria plays Sally Applewhite, who voices Martha Cratchit, Scrooge’s fiancée, and the wife of Scrooge’s nephew; Matt Grasso plays Jake Laurents, who plays Scrooge’s nephew and Tiny Tim; Kaia Monroe plays Lana Sherwood, who performs Mrs. Cratchit and the Ghost of Christmas Past; Jacob Sherburne plays Harry Heywood, who delivers Marley, Cratchit, and the Ghost of Christmas Present. There are many other incidental characters and sometimes those are the most rewarding for comic touches—such as the take-offs of Scrooge’s priggish business acquaintances by Grasso and Sherburne, and the lively scene when DeMaria, Monroe, Grasso and Sherburne enact the scrounging low-lives who pawn Scrooge’s meager possessions.
There are fewer outright comic elements in A Christmas Carol than in It’s a Wonderful Life, so the use of commercial breaks—for a fruitcake purveyor—are welcome additions. The story of Scrooge—as Hartford Stage’s current production shows—has an inherent drama that could be detached from the question of Christmas cheer and still be worthwhile. MTC’s production plays to the warm and fuzzy qualities that we would expect from a broadcast playing in living rooms. As with It’s a Wonderful Life, the era of the broadcast already supports a feeling of nostalgia for the bygone comforts of Christmases past. And that means the whole is pitched so as to bring both a twinkle and a tear to the eye.
As Scrooge, Boland truly seems a man set in his ways, impervious to the needs of others and the charms of the season. His fear when confronted with the visions provided by the Ghost of Christmas Yet to Come is convincing and helps to make the lesson of the spirits feel earned. The Ghost of the future has no lines but is instead signified by sound effects—and watching the cast perform sound effects, or Foley, is another aspect that makes the old-time radio show setting enjoyable. In terms of voice effects—important to making these characters alive for listeners—Sherburne’s Marley is chilling and his Ghost of Christmas Present warmly chiding; Grasso gets the most boisterous characters and keeps the show merry; DeMaria, who was a memorable Violet Bick in It’s a Wonderful Life, doesn’t get to be as sexy this time—except in one of the commercial spots—but she’s good at ingenue too; Monroe gets the arch tones of the Ghost of Christmas Past and the straightened Londoner of Mrs. Cratchit and shines as the blustery cockney, Mrs. Dilber.
As with It’s a Wonderful Life, it’s easy to get caught up in the drama when one knows so well the story and the lines, and it’s a treat to see a faithful rendition that hits all the high points, while we imagine it all taking place in our minds just like those visions of sugar plums.
A Christmas Carol, A Live Radio Play
Adapted for the Stage by Joe Landry with Music by Kevin Connors
Based on the novella by Charles Dickens
Directed by Tim Howard
Costume Design: Diane Vanderkroef; Set Design: Jordan Janota; Lighting Design: Michael Blagys; Sound Design: Monet Fleming; Stage Manager: Jim Schilling; Musical Direction: Matt Johnson
Cast: Mike Boland, Elissa DeMaria, Matt Grasso, Kaia Monroe, Jacob Sherburne
Music Theatre of Connecticut
December 1-17, 2017