A Feast For the Eye, Ear and Soul

A Christmas Carol

They say that everything old is new again. That phrase wandered through my head as I enjoyed the opening night of the Goodman Theatre’s 46th annual production of “A Christmas Carol.” The story hasn’t changed, the script is basically the same, some of the actors in this large cast are new but many have returned, a few in different roles. But gifted director Jessica Thebus has tweaked it and made some wonderfully inspired changes and additions to the play that transforms the holiday classic into a fresh, new story. Reimagined, this presentation truly earns the title of A Bonafide Chicago Holiday Tradition.

This is the Grandaddy of all holiday stories. Every theater aspires to make their version of “A Christmas Carol” the best, but I think that award truly belongs to the Goodman. As always, the production is sensational! It’s eloquent, moving, funny, heartwarming and a feast for the eye, ear and soul. The themes and lessons from Charles Dickens’ novella aren’t diluted by raucous out-of-place production numbers, cartoonish elves or dancing turkey boys. This is the ultimate version of  the story. Charles Dickens would be so proud of how his 180 year-old novella has endured and been dramatized all over the world, particularly in Chicago. This tale of redemption is after all, what Christmas is really all about.

 Theater artist and educator, the multi-gifted Jessica Thebus, returns once again to guide this much-awaited production. A few things have changed in Tom Creamer’s excellent adaptation of the Dickens classic, but the play is still basically the same familiar story. His adaptation 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 plenty of heart, a great sensitivity to our ever-changing world and tons 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 we should 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, love 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 16th appearance as the English curmudgeon so honest and multilayered. The actor absolutely owns the stage. And yet, this accomplished Thespian generously shares every scene equally with his fellow actors. He’s truly made Ebenezer Scrooge his own creation. Gruff and terrifying, balanced with surprising moments of whimsy and humor, Scrooge’s journey toward redemption is a joy to behold, and is alone worth the price of admission.

This year’s supporting cast is better than ever. As the curtain rises, we find a single child singing “Dona Nobis Pacem,” the Latin hymn for Grant Us Peace. The child is soon joined by the townsfolk, who harmonize and enchant. Andrew White, a poor street performer, steps out of the crowd and begins his role as Narrator. He’s joined by a band of marvelously talented musicians (Hillary Bayley, Delin Ruhl, Malcolm Ruhl and the incomparable fiddler/violinist, Gregory Hirte). White is both the storyteller and part of the ensemble throughout the play. He speaks with resonance and clarity, setting the tone for this production and providing the audience with everything they need to know for enjoying what lies ahead.

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 and his reactions to Scrooge draw much laughter. But later, in the final scene, Mr. Cox genuinely evokes tears from the audience, as he mourns the untimely death of his boy, Tiny Tim. Wai Yim (whose talents this year are greatly showcased in several roles) coupled with the brilliant Penelope Walker are excellent as a clueless pair of charity workers, Mr. Ortle and Mrs. Crumb. Both actors, like almost everyone in the cast, double in several roles. It’s fun to watch for each performer as he or she turns up in another scene. 

Magnificent actor Kareem Bandealy is a terrifying specter as the Ghost of Jacob Marley. He foreshadows the spirit’s appearance by mysteriously appearing on Scrooge’s door knocker. Then he arrives in Ebenezer’s room in full force, accompanied by much fog and ethereal fanfare, rising up out of Scrooge’s luxurious bed. Burdened with heavy chains and hauling a ledger and a giant, clunking cash box, he sets the play in motion for Scrooge. 

The talented Lucky Stiff returns again to portray the Ghost of Christmas Past, played as a sly, punky pixie, clad in sparkle and sporting a crescent moon on their glitzy head. Commanding the stage with a charming, impish demeanor, they’re an empathetic but puckish spiritual guide for Scrooge. The incomparable and multitalented 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 greenery, Ms Thomas is a divine inspiration for this part. Jessica Thebus gives Ms. Thomas ample opportunity for this gifted diva to raise her voice in song, as well. Earlier on, Bethany portrays Scrooge’s housekeeper, as well as other townspeople. This year, Daniel Jose Molina dons a black, flowing robe and a raven-like feathers and plague mask as the silent horror that is the Ghost of Christmas Future. This handsome, charismatic actor also brings much strength and pathos to the challenging role of Ebenezer Scrooge as a Young Man.

New to this production, delightfully ebullient Robert Schleifer plays the generous, party-loving Mr. Fezziwig. What makes Mr. Schleifer’s portrayal so exquisite is that he is a hearing-impaired actor and he flamboyantly signs all of his dialogue. And, naturally, so does everyone in the party scene. In fact, ASL is used several times in this production, even in song. Robert makes his portrayal of Mr. Fezziwig the kind of lovable employer for whom everyone wishes 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. The sparkling Penelope Walker returns to the play as the delectable, deeply devoted Mrs. Fezziwig. Graceful Amira Danan once again portrays winsome, strong-willed and wise Belle, Young Scrooge’s beloved. Kareem Bandealy also returns in this scene to play Jacob Marley as a live, young man

Loving, hardworking Mrs. Cratchit is beautifully portrayed by Susaan Jamshidi. The Cratchit children are played with relish by six wonderful young actors.Sweet little Christian Lucas is excellent this year as Tiny Tim. Tafwadzwa Diener plays Martha (also doubling as Scrooge’s beloved sister, Fan). The other Cratchit children are played by Rika Nishikawa, Viva Boresi, Leighton Tantillo and Amir Henderson. Wai Yim returns, doubling as Scrooge’s frightening Schoolmaster. An ensemble of assorted street folk, party guests and merrymakers fill out the enormous cast.

In the original story, Scrooge has a nephew named Fred, with whom he quarrels at the beginning of the play but later reconciles. However, in an inspired move, Fred has become Frida, showcasing yet another talented actress in this pivotal role. I think this gender reversal makes one of the play’s most heartfelt scenes even stronger. Frida is played with honesty, humor and affection by Dee Dee Batteast. When she enthusiastically embraces her Uncle Scrooge, when he drops by before their Christmas dinner, our hearts melt. This is the moment toward which this production has been journeying.

Even after so many years, this production remains as lavish as ever, thanks to the collaborative contribution provided by dozens of unseen theatre artists. Towering two-story sets are designed by talented Todd Rosenthal. His minutely-detailed, authentic-looking Victorian scenic design is gorgeous. The play easily moves from scene to scene, with giant set pieces that fly in or move on and off the stage with ease. The actors are clothed in hundreds of gorgeous, colorful period costumes, designed by Heidi Sue McMath. The play also features Keith Parham’s intricate, atmospheric lighting, and is effectively paired 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 a talented ensemble of street musicians, featuring original music composed by Andrew Hansen, with Musical Direction by Malcolm Ruhl. Together, all of these artists help make this year’s Christmas Carol absolutely sing.

Every holiday season Chicago has so many plays, musicals and entertainments from which to choose. But the production that truly says “Christmas” is back once again at the Goodman Theatre. Looking at all excellent alternatives playing around town, know that this play is the real deal. “A Christmas Carol” will remind audiences of what the holiday is truly all about and is guaranteed to put every theatergoer in the Christmas spirit. There’s no better choice. Here is a Christmas extravaganza that’s a feast for the senses and the soul and presented with heart and humor. Whether it’s your first time or a return visit, Goodman Theatre’s production is a must-see at this time of year!

Highly Recommended

Reviewed by Colin Douglas

Presented November 18-December 31 in the Goodman’s Albert 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.