The timeless tale of A Christmas Carol comes to life at Hartford Stage in a production comparable to any cinematic iteration of Charles Dickens’ original story ever produced. Directed by Michael Wilson, this production visually heightens the juxtaposition of the joy, life, and merriment of the Christmas holiday with the grief, death, and misery of those who’s hearts have calloused over the years. It’s doubtful that this production can be topped.
The story is the same, Ebenezer Scrooge, the miserly old man of great wealth and prominence stalks around the town spewing venomous disregard and disrespect to the people in his life. His disregard extends to his employees, those indebted to him, and even his family. The turning point comes when Scrooge is visited by his late business partner, Jacob Marley. Jacob visits Scrooge from beyond the grave to warn him what will become of him if he continues down his unkind path. He informs him of 3 visitors that will come to him— the ghosts of Christmas past, present, and future. In each visit, Ebenezer is shown excerpts of his life, including what could be if he continues on the path of unrighteousness. Scrooge has a rude awakening and is scared straight, repenting of his unneighborly behavior, thus positively impacting the lives of all those around him.
While the entire cast maneuvers in-step, not missing a beat, to create a seamless production, the stand out performances of some core actors make the story at the forefront as brilliantly nuanced as it is. Mrs. Dilber (Noble Shropshire) is an accent not to be overlooked. Bettye Pidgeon (Rebecka Jones), the doll vendor, Bert (John-Andrew Morrison) the cider vendor, and Mr. Marvel (Mauricio Miranda) the watchworks vendor create depth to each scene they grace. Jones, doubling as the Spirit of Christmas Past, serves up funny and fervor while Morrison, also serving as the Spirit of Christmas Present, is a delight in his delivery of pizazz and humor.
Allen Gilmore’s Ebenezer Scrooge nails the grouch in a way that is difficult to explain. Gilmore is so steeped in character, shifting vocal inflection, facial resignation and body mannerisms in sync with the characterization of Scrooge in each scene in a way that can only be described as complete oneness with the character. Gilmore maneuvers between Scrooge’s boisterous meanness and “unintentionally” funny idiosyncrasies with ease, setting the stage for a believable post-revelation transformation.
Tony Straiges’ scenic design looks simple in the grand scheme of scenic designs, but offers a classic and time-accurate feel while playing a significant role in the unfolding of other visual elements as the play progresses. Alejo Vietti’s costume design range from simplistic, though timely and intricate to whimsical, festive, and sometimes spooky. The production’s technical elements reach out, grab the audience by the collar and shakes them awake. The sound and lighting design of John Gromada and Robert Wierzel plays well into the shock and awe of the scenes, but can be somewhat overwhelming. Be cautious of this if you have light and sound sensitivities. Still, the few moments of overwhelm are worth bearing for the overall delight of the show.
This production emphatically heightens the notions around good and evil as it pertains to human choice and the fate that awaits our choices beyond the life that we know with a very prominent theme of “love your neighbor as yourself” and even “love yourself’. A Christmas Carol tastefully employs the contrast between the desired whimsy of the holiday and the looming realities of a life that doesn’t take breaks like we hope to.
A Christmas Carol run through December 29th at Hartford Stage. For tickets, visit https://www.hartfordstage.org/.
