A Christmas Carol

Reviewed by Holly Bartges

Of course, A Christmas Carol is an old chestnut. Charles Dickens wrote his first Christmas story in 1843. A London performance followed almost immediately after it was published.

There was a reason he wrote A Christmas Carol then, and there’s a reason that it continues to be produced now. It speaks warmly in the winter cold.

(Left to Right) Mark Rubald as Bob Cratchit (back to camera), Mike Hartman as Ebenezer Scrooge and Douglas Harmsen as Fred in the Denver Center Theatre Company’s 2004 presentation of A Christmas Carol. Charles Dickens’ story of renewal and hope, directed by Laird Williamson, returns to The Stage Theatre thru December 26. Photo by Terry Shapiro

With the imagination and vision of Director Laird Williamson and the creative crew behind him, The Denver Center Theatre Company’s production is sheer, total, unadulterated magic.

Magic for the shimmering, reflective, mood-enhancing set designed by Robert Blackman.

Magic for the delectable finely tuned sound designed by David R. White.

Magic for the festive, ghostly and celebratory Lighting designed by Don Damutzer.

Magic for the spectacular, gorgeous, luscious costumes designed by Andrew V. Yelusich. Although we lost him October 28 of this year to cancer (see the menu for Interviews), his enormous creative spirit continues to engulf the DCTC’s A Christmas Carol as long as it continues to be produced. There has to be some explanation for that feathery shadow flitting across one of the blue lights in the rafters.

Magic for the awesome choreography by Ann McCauley from the galloping jigs by Mr. and Mrs. Fezziwig (David Ivers and Leslie O’Carroll) to Scrooge’s giddy, joyous unfettered jumps and hops to young Scrooge (Reed Meschejske) and Belle Cousins (Kendra Kohrt) skating on the frozen pond.

Magic for the straight to the heart spirit and dichotomy that hovers everywhere during the Christmas season with too busy schedules, and too heavy demands. Dickens wrote A Christmas Carol during the heavy economic depression of Victorian England. Wanting to rekindle Christmas, he lit a bright flame that glows after 161 years with enchanting life showing no signs of giving into darkness.

Magic for the incredible performances provided with strength, power, depth, and feverish frivolity of the enormous cast.

Magic because Scrooge is Scrooge. Sharing the role for Ebenezer Scrooge is Mike Hartman and Randy Moore. All too often Scrooge becomes a watered-down adaptation to avoid scaring the children. Not so this production. Scrooge is allowed to blow himself up with Bah Humbug and transform into the child-like giddy generous spirit he thought he buried a long time ago.

Granted, he has to be hit over the head several times. First he has to be scared out of is wits by the haunting visitation of his once upon a time partner Jacob Marley (Peter Bretz) relegated to wandering the world dragging ankle chains because he forgot his business was human nature. With fried and frizzled hair, and a plaintive shrieking voice, Bretz hits the boards like a jackhammer.

Christmas Past comes brilliantly to life with the ghost, his wife, son, and daughter dressed in brilliant white (Sam Gregory, Heather Fortin Rubald, Nina Waysdorf, and Grace Hollenbeck.) Their choice of approaching Scrooge? Gracious elegance.

John Hutton appears in a bright red flowing robe with green holly leaves to give Scrooge a glimpse of the reality of Christmas Present. Hutton’s talented power allows blind eyes to see what has always been.

In huge silence and an overwhelming costume, Ivers guides Scrooge through the darkness of Christmas Future if he doesn’t rediscover the sensitive caring child within now so deeply buried.

Williamson and Dennis Powers adapted this script from Dickens’ original keeping in tact the motivation, the development and the essence of the story, as rich and pertinent today as it was in 1843. Even with the large cast, each actor gives particular attention to the diversity and significance of their character. So much to see. So much to absorb. Every detail carefully choreographed.

Mark Rubald’s sculptured Bob Cratchit takes him out of the realm of just another Dickens’ character to a personality alive with spirit, hope, and determination even when his fingers are freezing to the bone. Harry Feder Pruett turns Tiny Tim into a real boy ignoring the highly-stereotyped signature phrase that often makes him just a symbol.

More than a play, grander than a tradition, DCTC’s A Christmas Carol announces the Holiday’s rhyme and reason.