Village Theatre’s version of A Christmas Carol, Charles Dickens's famous holiday classic, will leave audiences feeling warm and fuzzy.
Though I didn’t agree with every change made by director Deb Dagenais nor Keith Weirich’s adaptation (made specifically for this production), the audience – and I – still found plenty to love about the experience.
Director Dagenais set her stage clearly in Victorian London, with a large clock reminiscent of Big Ben to remind us of the timely visits of the various Spirits, a faux stone stairway and balcony from which Scrooge and the Spirits observe the action, and, at the start of the play, Jacob Marley’s coffin on a wooden bier, in the centre aisle. These set the mood well. Given the size of the production and the number of actors, it was wise to use the aisle for these props and for some entrances and exits.
A less successful choice by the director was to have the Narrator tell the beginning of the story in a cheerful, almost comic, fashion. While engaging the audience eventually works, the language of the narration and the story itself is sombre at the beginning. The nasty miserliness of Scrooge in opening scenes is a needed contrast to the generous, bright aspect of Scrooge after the visit of the Spirits. Nevertheless, as the play progresses, Jaclyn Scobie engages the audience with her observations and infectious smile, and the audience responds well.
Erik Peters as Ebenezer Scrooge had a bit of a stumbling start, perhaps opening night jitters, but once he observes his former life, as shown to him by the Ghost of Christmas Past, his change in mannerism and verbal expression wins over the audience. We can already predict the kind of person Scrooge will become because of Peters’s new-found enthusiasm.
The amplification of the voices of the Spirits, particularly Marley and the Ghost of Christmas Past, unfortunately hindered the diction. For those of us who know the story, it's a small matter, but younger audience members might not have understood what was being expressed.
Despite these minor drawbacks, there was much to love about the entire play and certain performances in particular. Christopher Sterling as Fred successfully presents the attitude Dickens wanted us to emulate. His positive energy reflects the character of Fred well: despite growing up motherless and being shunned by his only living relative, Scrooge, he sees the positive in everything, and that positivity eventually allows Scrooge to accept his nephew’s unending invitations.
Sara Laux is a great Mrs. Dilber. We miss the Cockney Mrs. Dilber of previous film versions as well as some of her opinions of Scrooge as seen in the original novel, but Laux’s facial expressions are excellent, ranging from fear to incredulity to delight.
Robert Grundy is a warm Bob Cratchit, whose fear of Scrooge and love of Tiny Tim are never in doubt, and Ella Mair’s Tim is lovable, to be sure.
While many characters are represented well, there are a couple of additional stand-outs: Clarice Bowser as the mandolin player – an unexpected delight during the party scene – and Emersen Barnes as Belle, Scrooge’s young love. Barnes makes the most of her moments, and portrays Belle’s wisdom and emotion with delicacy. The entire break-up scene does Dickens justice.
Simon Immonen is quite capable as the young, indifferent Scrooge, and he bears a resemblance, thanks to facial hair, with the mutton-chopped, moustachioed
Peters, who has a good moment also as he ruefully wishes he could change the past. Shawn Butler is strong as the larger-than-life Ghost of Christmas Yet to Come.
Finally, the entire ensemble must be commended, as should the direction of Dagenais. She doesn’t shy away from the Christian aspect of the story, including hymns which are sung a capella by children and adults alike. She did a great job of marshaling all those actors for such a grand production.
Considering there was no musical accompaniment for the hymns, the choirs sang well. Congratulations to the actors who were leading the singers, setting the tune. And it was lovely to see children included as singers and extras in the play!
Certainly it is no easy feat mounting a production of this size. It takes many backstage workers, builders, technicians and helpers of various sorts, all of whom need to be commended.
It is worth noting that, for this production, donations are being accepted at the door for community groups which assist the needy: such a worthwhile and appropriate idea for this story in particular, and at this time of year especially.
Shows continue at Memorial Hall till Dec. 8, including a school matinee sponsored by Rotary Club of Waterdown, but sadly, the production is already sold out.
