The current Little Theatre of Alexandria production of “A Christmas Carol,” directed superbly by Jonathan Mulberg and based on the 1843 novella by Charles Dickens, has much to commend it. Most of us, of course, are familiar with this literary tale of the miser Ebeneezer Scrooge and his reformation through the workings of the Ghosts of Christmas Past, Christmas Present, and Christmas Yet to Come, all of whom give him flip-card views of Scrooge’s wasted, avaricious life. Fine acting, agreeable singing, authentic period atmosphere, and some delightfully spooky touches enable us to see this beloved story anew in a fresh, one-hour version!
The main set design of Julie Fisher is highly atmospheric: very grimy brick-front buildings befitting Dickens’ commentaries on greed and social injustices in the wake of Britain’s Industrial Revolution. The costumes of Juliana Cofrancesco and Carol Pappas aid greatly to this Victorian atmosphere. Wide-spread familiarity with the story is assumed in a good-natured way; certain famous lines from the story are spoken by cast members in unison, and the audience is presupposed to be “in the know” that Dickens would perform public readings of this novella and other of his works in his lifetime.
In addition to Justin Beland as Dickens introducing the proceedings (and, later on, presumably as Dickens enacting a green-robed Ghost of Christmas Present as well as Scrooge’s kindly early employer Fezziwig), we are presented with an excellent Bob Chaves as Scrooge. Mr. Chaves gives us a believable transition from the misanthropic Scrooge to the Scrooge of beneficence and benevolence. James Senavitis takes on the role of Scrooge’s long-suffering clerk, Bob Cratchit. Many cast members portray multiple parts, such as Katie Ellis (in some performances, Aria Bierzynski) as Scrooge’s long-deceased sister Fan and one of Bob Cratchit’s daughters. Likewise, once Steven Malone’s cadaverous make-up for his very effective role as Marley’s Ghost is removed, he becomes “Pawnbroker Joe.” Elena Ruiz’ Ghost of Christmas Past is kindly yet stern; in the spirit of this production with actors and actresses performing multiple parts, she also essays the role of Ruth.
Although Dickens officially titled his work “A Christmas Carol in Prose, being a Ghost Story of Christmas,” there are many Christmas carols in music performed in this production. Well-known Christmas musical staples which ring out include “Deck the Halls,” “I Heard the Bells on Christmas Day,” and “Here We Come A-Wassailing.” The audience is invited to join in on “We Wish You a Merry Christmas” at the close of the performance, with lyrics provided on the back cover of the attractive program. A couple of less familiar but highly melodic Christmas tunes are heard as Cristina Casais sings beautifully “Twas in the Moon of Wintertime” and a quartet performs lovingly “Love Came Down at Christmas.”
We have attended effective horror productions at Little Theatre of Alexandra before, including a staged performance of Bram Stoker’s “Dracula,” and the producers are gifted at creating an eerie ambience. This was certainly true for the ghastly looking ghost of Marley (mentioned above) and his frightening appearance coming out from under Scrooge’s bed. It is an effective scene, although one which would frighten small children. There is also minor-key organ music which is played when Scrooge is assumed to be dead, and we later see his full name glowing red hot on a gravestone. In this macabre spirit, the Ghost of Christmas Yet to Come is presented as a dead ringer (so to speak!) for the Grim Reaper.
The Little Theatre of Alexandria performance of “A Christmas Carol,” which runs through December 16, is highly recommended holiday entertainment, although, as noted, it may be very frightening for younger children. For further information, please visit: thelittletheatre.com
