NEW YORK—Eternal damnation and ultimate redemption often go hand in hand. So it is with Charles Dickens’s 1843 novella, “A Christmas Carol,” a sparkling adaptation of which can now be seen at the Nederlander Theatre on Broadway. Featuring a tour-de-force performance by actor Jefferson Mays, it’s a spellbinding experience from start to finish.
The Dickens story introduced the world to Ebenezer Scrooge, someone who is, quite simply, the most miserly man in London. Scrooge is so stingy, he even deplores the idea of letting his overworked clerk Bob Cratchit have Christmas day off—or, God forbid, making a financial donation to help those less fortunate. Unsurprisingly, Scrooge regards any sort of Yuletide frivolity as nothing more than pure humbug.
One-Actor Wonder
This tale of hope, loss, despair, and second chances is told by a solitary Mourner (Mays); Mays assumes approximately 50 separate roles in the play. The only other cast member in the company is Danny Gardner, who plays a mysterious shrouded Spectre. Gardner also turns up now and then to give some extra presence to Mays’s narration, sometimes to an enjoyable effect. (Look for it in the scene introducing the Ghost of Christmas Present.) However, this is clearly Mays’s show, and he does not disappoint in the least.
Mays relates the tale (co-adapted with Susan Lyons and director Michael Arden) in a firm and authoritative voice, while being able to effortlessly switch from one character to another with nimble alacrity. This is especially evident in a scene between Scrooge and his nephew Fred. Fred is just about the only person who wants anything to do with him, and is also his uncle’s complete opposite in temperament. The rapid contrasts of Scrooge’s “humbug” attitude and Fred’s holiday merriment prove to be quite amusing.
Mixed in with Mays’s delivery is an underlying tone of wonder. This is quite evident as he describes the wide range of sensations that Scrooge experiences, from rooms overstuffed with food and festive lights, to his having the chance to revisit some joyous moments from his past. Many of the verbal pictures are created at an almost breakneck clip as Mays and the rest of the creative team bring the different parts of the tale vibrantly to life.
Great Production Support
The audience gets to share in this experience not only by way of the story itself but also through some brilliant projection work by Lucy Mackinnon. These effects are on full display when Scrooge and the Ghost of Christmas Past begin their particular journey. Mackinnon’s efforts also are central to the background during a rather animated description of a Christmas party Scrooge attended as a young man. You’re hard pressed to believe that Mays is the only person continually on stage.
Credit must also go to Arden’s directorial work, which keeps the entire presentation on an even keel. The scene and character changes all take place with the precision of a well-oiled machine. Dickens purists may note certain lines and sequences condensed or otherwise slightly altered, but it’s nothing that detracts from the tale’s overall message.
The scenic design work by Dane Laffrey, with a first scene rather ominous and a last one quite hopeful, is excellent. Efforts by lighting designer Ben Stanton, sound designer Joshua D. Reid, and costume work by Laffrey also play a vital part in making the entire piece come beautifully together.
It should be pointed out that while this show may be a wonderful holiday treat, it is also a ghost story and, as such, not suitable for very young children. This is something that more than a few parents came to realize during the matinee performance I attended. While there are many iterations of the Dickens work that will delight the very young among us, this production is not one of them.
That one caveat aside, this particular adaptation of “A Christmas Carol” offers a stirring and soulful take on a timeless classic and should definitely not be missed.
