A Holiday Extravaganza Filled With Heart

A Christmas Carol – Goodman Theatre

Rejoice, Chicago! Goodman’s wonderful production of “A Christmas Carol” has returned once more as a live performance. After last year’s ambitious audio production, because of the pandemic, this reimagined and perfectly updated presentation is once again live on the Albert Stage. Can anyone believe that this is the 44th production of this wonderful show that’s become an annual Chicago holiday tradition? And Dickens’ almost 180-year-old this story is, after all, what Christmas is all about. Chicagoans are so fortunate to have Mr. Scrooge back for another holiday season. 

This production is the Grandaddy of all holiday stories, and what every other theater’s presentation of “A Christmas Carol” aspires to be. As always, it is sensational! It’s eloquent, heartwarming and a feast for the eye, ear and soul. The themes from Charles Dickens’ novella, and the lesson he imparts, aren’t diluted by raucous out-of-place production numbers, cartoonish elves or dancing turkey boys. This is the ultimate production of  the story, and it would certainly have made the Victorian English author proud.

Theater artist and educator, the multi-gifted Jessica Thebus, returns to the Goodman after guiding last year’s Audio Play. Now she’s the director of 2021’s new live version. A few things have changed in Tom Creamer’s excellent adaptation of Dickens’s holiday classic, but the play is still basically the same familiar story. His production is earthy, straightforward, yet festooned with just the right amount of magic, music, drama and humor. It offers enough eye-popping special effects to delight both young and old, alike. Ms Thebus directs her large, diverse cast with lots of heart, great sensitivity to our changing world, and plenty of imagination. She goes straight to the essence of the author’s theme: equally sharing the responsibility of providing for those less fortunate. But what really hits home in this production is Dickens’ reminder to not shut out our past, nor to dwell upon it; but instead uncover the lessons inherent in the “shadows of what once were.” Learning from both the past and the present, Scrooge ensures a future filled with knowledge and exciting, unlimited possibilities.

Larry Yando is the quintessential Scrooge. There is no one else who can play this role with such style and swagger. Mr. Yando  doesn’t merely play the role; he totally inhabits the character. Subtle glances, tiny physical quirks and simple, offhanded gestures, combine with that mellifluous voice of his and those piercing eyes—all of which make Mr. Yando’s appearance as the British curmudgeon so rich, honest and three dimensional. This much-honored actor has played other great roles all over Chicago. In this production, as in every production he’s ever appeared, Larry Yando absolutely owns the stage. And yet, this accomplished actor generously shares every scene equally with his fellow Thespians. He’s truly made Ebenezer Scrooge his own. Gruff and terrifying, balanced with surprising moments of whimsy and humor, Scrooge’s journey toward redemption is an absolute joy to behold, and is alone worth the price of admission.

But wait—there’s more! This year’s cast is, as ever, superb. As the curtain rises, we find Andrew White, a poor street performer warming himself at a brazier. He’s eventually joined by a band of marvelously talented musicians (Justin Amoisch, Maddi Ruhl, Malcolm Ruhl and Gregory Hirte) and together as a crowd of townspeople gather, they play and sing a lovely carol. White becomes the play’s narrator as he carefully begins his introduction to Dickens’ familiar story. Andrew White speaks with resonance and clarity, setting a fine tone for this production and providing the audience with everything they need to know to enjoy what’s about to come.

Again this year, Thomas J. Cox fills the worn-down shoes of poor, put-upon Bob Cratchit. This skilled actor, who’s talent has graced stages all over Chicago, is the perfect foil to Ebenezer Scrooge. He’s a sweet, heartbreaking soul as his pleas go unheard. His reactions to Scrooge, however, draw much laughter. But later, in the final scene, Mr. Cox coaxes a tear from us following the death of Tiny Tim. William Dick and Penelope Walker are excellent as a clueless pair of charity workers, Mr. Ortle and Mrs. Crumb. Mr. Dick, like almost everyone in the cast, also doubles in several roles, including Old Joe, the pawnbroker. 

The always magnificent Kareem Bandealy is a terrifying specter as the Ghost of Jacob Marley. He foreshadows the spirit’s appearance by being mysteriously embedded on Scrooge’s door knocker. Then he arrives in Ebenezer’s room in full force, accompanied by much fog and ethereal fanfare, appearing on top of Scrooge’s levitating bed. Burdened with heavy chains and hauling a giant, clunking cash box, he sets the play in motion for Scrooge. 

Lucky Stiff portrays the Ghost of Christmas Past as a sly, punky pixie, all clad in sparkle and sporting a crescent moon on their glitzy head. Commanding the stage with a charming, but powerful demeanor, they’re an empathetic but commanding presence for Scrooge. The incomparable Bethany Thomas employs her raucous laughter, deep voice and larger-than-life presence to make the Ghost of Christmas Present a truly unforgettable spirit. Dressed completely in holly and hoop-skirts, Ms Thomas is a divine inspiration for this part. The director wisely gives ample opportunity for this talented diva to raise her voice in song, as well. Earlier on, Ms Thomas portrays Scrooge’s housekeeper, as well as other townspeople. Christopher Sheard, another familiar face in Chicago theatre, dons a black, flowing robe and a raven-like plague mask as the silent horror that is the Ghost of Christmas Future. This handsome, charismatic actor also brings much delicacy and pathos earlier to the role of young Ebenezer Scrooge.

This year, the delightful, radiant Cindy Gold plays a generous, party-loving Mrs. Maud Fezziwig. She also doubles as a crotchety Chestnut Seller, as well as the conniving Mrs. Dilber. Ms Gold portrays Mrs. Fezziwig as the kind of lovable employer for whom everyone wish they worked. Dick Wilkins, Scrooge’s fellow apprentice at Fezziwig’s, is also a talented musician, in this version. He’s played by that fantastic fiddler, Gregory Hirte. Alice Fezziwig is delightfully portrayed by sparkling Penelope Walker. Graceful Amira Danan is radiant and wise as beautiful Belle, Young Scrooge’s beloved. And later, Kareem Bandealy returns to play Young Marley. A loving, hardworking Mrs. Cratchit is beautifully portrayed by Susaan Jamshidi. The Cratchit children are played with relish by Gayatri Gadhvi, excellent as Tiny Tim, Ariana Burks as Martha (who also doubles as Scrooge’s late sister, Fan), Rika Nishikawa, Paris Strickland, Nelson H. Simmons and Grier Burke. Doubling as both the Undertaker and Scrooge’s frightening Schoolmaster, is Wai Yim. The ensemble of street folk, party guests and merrymakers also includes a lovely, talented Molly Hernandez, Andy Nagraj and Terry Bell. 

One of the play’s most heartfelt moments, however, comes when Scrooge’s lovely niece Frida, played with energy, honesty and love by Dee Dee Batteast, earnestly embraces her Uncle when he unexpectedly joins his family for Christmas dinner. This is the moment to which this production has been journeying.

Even after so many years, this production is as lavish as ever, thanks to the collaborative contribution provided by dozens of unseen theatre artists. The show is staged upon Todd Rosenthal’s minutely-detailed, authentic-looking Victorian scenic design. It features giant set pieces that fly in or move on and off the stage with ease. Actors are clothed in hundreds of sumptuous, gorgeous period costumes, designed by Heidi Sue McMath. The play also features Keith Parham’s intricate, atmospheric lighting, along with Richard Woodbury’s alternately eerie and festive sound design. Add to all of this, waves of dense London fog, air-born flying spirits (courtesy of ZFX, Inc), and that talented ensemble of street musicians, featuring original music composed by Andrew Hansen, with Musical Direction by Malcolm Ruhl. Together, all of these artists, ably assisted by Stage Managers Alden Vasquez and Kimberly Ann McCann, help ensure that this Christmas Carol absolutely sings.

We’re so lucky. Live theatre is back in the Windy City! And luckily Chicago offers a wide variety of holiday entertainment. Every year there are new plays and musicals from which to choose. But the one bonafide production that truly says “Christmas” is back again at the Goodman Theatre. There are a number of excellent alternatives playing around town, but the real deal, the play that will remind audiences of what the holiday is all about, is here for another year. There’s no better choice. Here is a Christmas extravaganza that’s filled with heart and humor and is certainly a must-see at this time of year!

Highly Recommended

Reviewed by Colin Douglas

Presented November 28-December 31 in the Albert auditorium at the Goodman Theatre, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.