The Grandaddy of Holiday Stories

A Christmas Carol

There’s an old saying that everything old is new again, and that crossed my mind after attending the opening of this year’s holiday offering  at the Goodman. I also thought to myself, how do they continually do it? After 47 years of excellent productions of this humorous and heartbreaking holiday classic, I thought I knew this play. But each year this theatre surprises me with exciting new surprises that make their production feel fresh, different and even more extraordinary than the previous year. So, once again, this new production is everything anyone could desire in A CHRISTMAS CAROL. It’s what Christmas is all about, and Chicago is so lucky to have it back for another holiday season. 

There’s no doubt about it: this is the Grandaddy of all holiday stories, and the show that every other theatre aspires to present. And once again, Goodman’s production is sensational! It’s eloquent, heartwarming and a feast for the eye, ear and soul. The themes from Dickens’ novella, and the lessons he taught, aren’t diluted by raucous, time-consuming musical numbers, cartoonish elfin characters or dancing turkey boys. I’m positive Goodman’s production would have made Charles Dickens proud.

 Director Jessica Thebus is back at the helm again this year, spicing up Tom Creamer’s faithful stage adaptation with several new twists. Her production is earthy, straightforward and yet offers just the right amount of mirth and magic. However, this year the play begins differently than in past productions. Ms. Thebus has cast the brilliant Kate Fry as the Narrator, and she’s magnificent in the role. Kate brings a lighter, more feminine touch to her storytelling that’s so enjoyable. There seems to be more music this year and definitely more inclusion of other cultures, including the deaf community. Thebus’ production features a diverse company filled with heart, imagination and talent. And her production goes straight to the essence of Dickens’ theme: that we must all share in the responsibility of providing for those less fortunate. But what really hits home in Ms. Thebus’ production is the author’s reminder to not shut out our past, nor dwell upon it; but rather to uncover the lessons inherent in “the shadows of what once were,” both yesterday’s mistakes and today’s successes. Learning from the past and the present ensures an fulfilling future peppered with knowledge and unlimited possibilities. Scrooge eventually comes to understand this.

And another big change this year is talented Chicago character actor Christopher Donahue in the role of Ebenezer Scrooge. He really plays this character to the hilt and makes it all his own. The gifted Larry Yando, who’s portrayed Scrooge in several of the past Goodman productions, is currently playing Dumbledore and Snape in the National Tour of HARRY POTTER AND THE CURSED CHILD, now at the Nederlander. Like Mr. Yando, Donahue doesn’t merely play the role, he totally inhabits the character. Subtle glances, tiny quirks, simple gestures and those piercing eyes all make Christopher Donahue’ performance as the English curmudgeon rich and complex. Gruff and terrifying, with selected moments of humor, Scrooge’s journey toward  redemption is a joy to behold.

The entire enormous cast is, once again, superb. William Dick gives a macabre and frightening performance as the Ghost of Jacob Marley. Doubling as greedy pawnbroker Old Joe, party guest Topper and various other citizens of London, William is wonderful. Wai Kim and Penelope Walker are a terrific duo as the charity workers, Mr. Ortle and Miss Crumb; and Kim’s Schoolmaster is especially stern and frightening, as he bids his students farewell for the holidays. Young Henry Lombardo sensitively portrays Scrooge as a student, while lovely Tafadzwa Diener is pure love as his sister, Fan. 

This year Lucky Stiff again plays the high-flying Ghost of Christmas Past. In Heidi Sue McMath’s sleek costume, they look like a punk pixie crowned with a glowing crescent moon. With a most commanding demeanor, this Ghost still shows some empathy and care for Scrooge. Costumed in holly and evergreen boughs, the brilliantly talented Bri Sudia opens Act II as the larger-than-life Ghost of Christmas Present. As this spirit, she employs her gorgeous singing voice and a raucous laugh to make this Ghost a delight. Ms. Sudia also plays Scrooge’s housekeeping Charwoman. And Amira Danan masters the voiceless horror of the Ghost of Christmas Future, while also bringing grace and beauty to the role of Belle, Scrooge’s beloved.

Anthony Irons is alternately hilarious and heartbreaking as Bob Cratchit. He lends an optimism and a pinch of joy to his earlier scenes, while evoking tears, following poor Tiny Tim’s death (a role played with natural innocence by little Ava Rose Doty). Susaan Jamshidi is properly maternal and absolutely in charge as Mrs. Cratchit, while the other five Cratchit children (Isabel Ackerman, Viva  Boresi, Xavier Irons, Henry Lombardo and Tafwadzwa Diener) are properly raucous and realistic kids.

Daniel Jose Molina makes the perfect young apprentice, already showing Ebenezer’s miserly colors, and Gregory Hirte is spirited and humorous in the role of Scrooge’s fellow apprentice, Dick Wilkins. Arash Fakhrabadi does a fine job as young Marley, as well. Robert Schleifer and Penelope Walker provide plenty of much-welcome joy and giddiness as the Fezziwigs, the kind of generous and lovable employers that everyone wishes they had. And one of the play’s most beautiful and heartfelt moments comes near the end, when Ebenezer’s niece Frida, played with energy, honesty and care by Dee Dee Batteast, tenderly embraces her new and improved Uncle Scrooge at their Christmas dinner. A scene filled with joy and love, this is the moment to which this production has led.

Kudos must be given to the production’s terrific, talented live Musicians who stroll through London of the Past, Present and Future. They include Hillary Bayley on Violin, Brian Goodwin on Horn, Gregory Hirte mastering the Fiddle and on the Accordion/Guitar/Concertina, the wonderful Malcolm Ruhl. This group of artists keeps the play filled with melody and a magical mood. 

Even after 47 years, this production is as lavish as ever. Staged all over Todd Rosenthal’s minutely detailed, authentically Designed Victorian Setting, the various locales of London move on and off the stage with ease. Clothed in hundreds of sumptuous period Costumes that depict all walks of life, Heidi Sue McMath’s Design contribution to this production is enormous. This production also features an intricate Lighting Design by Keith Parham along with Pornchanok Kanchanabanca’s alternately eerie and festive Sound Design. Add to all this waves of dense London fog, air-born flying spirits and Original Music, Composed by Andrew Hansen and Directed by Malcolm Ruhl, and you have a Christmas Carol that absolutely sings.

With so many excellent holiday choices available in theatres all around Chicago, the one truly spectacular, bonafide Christmas production is back again at the Goodman Theatre. There are any number of other alternatives, but Director Jessica Thebus’ magnificent production is the real deal. This grandaddy of all holiday stories will immerse theatergoers in the proper spirit and remind audiences of what Christmas is all about. There’s no better choice. Goodman’s heartfelt holiday extravaganza is an absolute must-see at this time of year, whether it’s your first visit or your 47th. Do not miss it!

Highly Recommended

Reviewed by Colin Douglas

Presented November 16-December 30 by the Goodman Theatre 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.