CHICAGO—It’s an amazing feat to present “A Christmas Carol” year after year and keep it fresh. Yet, now in its 47th year in Chicago, that’s exactly what the Goodman Theatre has accomplished. Finding new ways to keep the Charles Dickens’s classic interesting and inspiring—for those who’ve seen it and to entice newcomers—takes a formidable feat of theatrical stagecraft.
The presentation, adapted from Dickens’s 1843 novella by Tom Creamer, begins as it always does with the atmosphere of another time and another place. Set in Victorian England (with scenic design by Todd Rosenthal, exquisite lighting by Keith Parham, and period costumes by Heidi Sue McMath), the Goodman stage is transformed into a London street filled with carolers singing in preparation for Christmas, and with peddlers in winter wraps, hawking turkeys and chestnuts.
But then the scene changes, and we see the most important change from performances’ past. For the last 16 years, Larry Yando, one of Chicago’s most compelling actors, has played the role of Scrooge to perfection. When Yando was persuaded to leave “A Christmas Carol” to play in “Harry Potter and the Cursed Child,” it was hard to imagine a good replacement. But within a few minutes of seeing Christopher Donahue as Scrooge, it’s clear the choice was inspired. While Yando played the role as a comedic curmudgeon, Donahue is, with his put-down of Christmas, his devotion to business, and unconcern for friendship, a more realistic, tragic figure.
Dickens’s classic, which he wrote in a little over a month, begins on a dark and scary night. The British author’s intent was to create a ghostly tale that he hoped could frighten people into changing their ways. It begins with a miserly Ebenezer Scrooge, who won’t allow his clerk much coal, refuses to help those in need, and turns down his nephew’s invitation for Christmas dinner with a “Bah Humbug!”
Once the image of the meanspirited Scrooge has been established, fantastic ghosts come to him to offer him a chance at redemption. They take him on trips into his past, his present, and to his future.
Directed by Jessica Thebus with narration by Kate Fry, we follow the transformation of Scrooge from the terrifying moment when he’s visited by his long dead-as-a-doornail partner Jacob Marley (William Dick) to his being transported through time by the trio of spirits.
The first spirit is the flying Ghost of Christmas Past (Lucky Stiff), who takes Scrooge to see his younger self (Daniel José Molina) at his former employer Mr. Fezziwig’s (Robert Schleifer) party, and who then breaks off his engagement with Belle (Amira Danan).
The Ghost of Christmas Present (Bri Sudia) takes Scrooge to the house of his employee Bob Cratchit (Anthony Irons) and his family. There Scrooge sees Tiny Tim (Ava Rose Doty) and his eyes open and his heart softens. He finally comes to see the error of his ways when the Ghost of Christmas Future (Amira Danan) appears. That’s the crucial scene of Scrooge’s redemption.
It’s also the climactic moment in the show. Donahue’s Scrooge goes from a mean, hunched, and unhappy man to one jumping for joy with Christmas benevolence and goodwill for all. We feel the redemptive power of the change in a human soul, which is always a miracle, but especially at Christmas.
In addition to Dickens’s timeless and inspiring story, other aspects of this production make it a joyful adventure for all. Throughout, we hear the lovely music by musicians (Malcom Ruhl, Gregory Hirt, Brian Goodwin, and Hillary Bayley) that create a festive mood.
This sensational production radiates a heartfelt warmth that is rarely seen in entertainment venues today and which is sorely needed. At the happy end, when Tiny Tim says “May God Bless us everyone” and the performers come together to sing Christmas carols, some in the audience seemed overcome with emotion.
An extraordinary show, this production is a poignant and powerful way to understand the true meaning of Christmas and to get in the blessed holiday spirit.
