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Home > Blogs > Arts and Entertainment > Archives > 2008 > December > 05
Friday, December 5, 2008
Human ‘family’ tells Scrooge’s story anew
On a fundamental level, live theater was born to create, share and embellish human stories. Teaching a lesson, holding a mirror up to society, making us forget our troubles and other incentives fit comfortably under that sturdy, oversized umbrella.
Charles Dickens might have preferred that at least a few members of the group telling his story were more convincingly threadbare and that ticket prices were lower, but The Human Race Theatre Company’s new production of his “A Christmas Carol” is otherwise dedicated to telling his story clearly.
Besides some stage smoke billowing from one of the “vom” entryways for actors beneath and beside the seating, a door knocker that plays hallucinatory tricks in Act 1 on the soon- to-be haunted Scrooge, and some reverberating amplified ghost pronunciations, the show that opened Friday, Dec. 5, at The Loft is a low-tech affair.
Its streamlined premise, as adapted in the script by the company’s Leigh Allan and Scott Stoney, directed by Kevin Moore with Stoney, and enacted by a cast including many from the troupe’s resident collective, starts with a family that makes Dickens’ story an integral part of its annual holiday gathering.
Prompted by the kids, who sit to listen but also take part like everyone else, the adults narrate and bring the tale to life while we disconnect our skepticism, cynicism and Hollywood-glutted expectations to take it in.
Although Act 2 lacks some of the opening half’s clarity and effective economy, the production tailored for the intimate Loft with scenic design by Terry Stump, costumes by La Ine June Marr and lighting by John Rensel, succeeds in repeating a story most of us know so well that we’re glad Tiny Tim’s (Jacob Boyd’s) refrain of “Bless us, everyone” is heard only once.
To portray a convincing Scrooge who materializes in the midst of a family, Mark Douglas-Jones relies on and succeeds more with posture, expression, pause and emphasis than on his effectively edited dialogue. His compact evolution from one bereft of charitable impulse to one giddy with giving is quick, but convincing in a two-act, 100-minute show, including intermission.
The jury is still out on the wisdom of adding a sort of “Scrooge 2” postscript for Scrooge and the Cratchits, rather than settling for the traditional happy ending. The audience will ultimately deliver the verdict. I have my doubts.
As befitting the family framework, the successful storytelling requires a group effort from the cast of 13, many in multiple roles.
Even so, some serve as pillars. Jennifer Johansen is both Ghost of Christmas Present and, with silent but notably expressive physical presence, Ghost of Christmas Future. Alan Bomar Jones, he of the booming voice, broad chest and twinkle in the eye, is another as the Ghost of Christmas Present.
Other players include Travis Horseman as Bob Cratchit, Christine Brunner, in a welcome return to the stage, as Mrs. Cratchit; Fred Blumenthal as Fezziwig, plus Kay Bosse, Peter Fitzkee, Claire Kennedy, John Joseph Tiemeyer and Kyle Mercuri in multiple roles.
“A Christmas Carol” will continue through Dec. 21 at The Loft, 126 N. Main St. Tickets are $33-$40 for adults. Call: (937) 228-3630, (888) 228-3630, or go to www.ticketcenterstage.com.
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