IVINS — It ain’t Christmas without the Carol. As usual, Utah audiences have several options to choose from this year, but arguably the highest profile of the bunch is Tuacahn’s star-studded production, which opened last week.
This is the Disney musical version, with lyrics by Lynn Ahrens, music by Alan Menken, and book by Ahrens and Mike Ockrent. Since opening at Madison Square Garden in 1994, it has been a popular choice for theaters; in addition to its musical content, this version contains some worthwhile departures from the source text. The largest change is likely the extra prominence of the ghost characters, foreshadowed by everyday street people who Scrooge ignores and abuses.
Upon seating, I noticed the modern set with metal platforms, and wondered if I was about to experience a boldly deconstructed production. Turns out, the production is fairly traditional with the kind of costumes and performances one would expect. And besides the use of a rolling staircase as a teleportation device, Paul Black’s set and light design hewed close to audience expectations of the classic musical.
The cast is led by Christopher Gurr as Scrooge, whose Broadway credits include Cats, Parade and Tuck Everlasting. Gurr expresses the miserly curmudgeon with a biting, withering delivery as a man with complete confidence in himself. It’s a powerful performance, although his strongest moment may not be Scrooge’s bluster, but toward the end of the show when he quickly knocks and turns from his nephew’s door, effectively demonstrating the nerves of someone taking a big personal leap.
Dan Fenaughty’s Ghost of Christmas Past is a striking presence, with a smile as wide as the Grand Canyon and a personality as bright as a gameshow host. The character’s glittering silver three-piece suit and top hat fit his glowing personality and otherworldly nature (the costume coordinator was Sara Brookes). Fenaughty’s performance was big and endearing, and one of the most memorable and enjoyable of the cast. I do wonder if the overly positive nature of the character might have overlapped the traits of the canonically positive Ghost of Christmas Present, however, and perhaps occasionally been at odds with the darker content of the story.
Randal Keith gave a captivating performance as Marley. It’s no wonder that a man who starred as Jean Valjean on Broadway and as the titular character in The Phantom of the Opera’s first national tour can deliver onstage. Keith has a rich, sonorous voice that is a delight to the ears, and gave a strong performance as the tortured character. Thank the stars that Keith has relocated to St. George so Utah audiences can enjoy him in roles like this.
Among the rest of the cast, Brendan Malafronte stood out as the impoverished Crachit. Malafonte’s dialect, inflection and character work were entertaining and endearing. He also looked the part, with curly hair and aw-shucks dimples. The program says he is also a puppeteer at the Jim Henson Company, which makes him even cooler.
The production’s technical elements were strong overall. The famous door knocker scene, which trips up many productions of the show, was particularly inventive. It was basically a puppet, operated by a cast member on the other side of the door. The knocker was controlled by their hand, and the extension of their arm created the neck; a delightful and effective practical effect.
Projection by Brad Peterson factored in heavily into the set design. Not only was the background of frosty London streets projected, but the set included several proscenium arches which were illuminated with projection as well. Generally, the projection design was supportive of the show, although the large, busy geometric design of the tap number “Abundance and Charity” felt a bit cheesy and overwhelming.
The treatment of the Ghost of Christmas Yet-To-Be provided a powerful visual image, but also some limitations. To set up the character, the Blind Hag (played by Thursday Farrar) stumbled mid-stage beneath a platform and raised her arms upward. The two-story tall, black robes of a Grim Reaper figure then descended over her as the Ghost’s true form was revealed, with a classic hood and long, unbending arms that ended with skeleton hands.
This provided a visually striking moment when the Ghost, Scrooge, and Scrooge’s headstone were backlit by a single stage light. Unfortunately, riveting the ghost in place limited the character, and it seemed odd that the hag would transform into a completely different form while Past and Present basically remained their usual selves.
Another moment that did not live up to expectations was the morning of Scrooge’s transformation. It felt disappointing that Scrooge almost immediately skipped offstage to dress, it took the air out of the scene. But overall, director and choreographer Mara Newbery Greer’s work of developing scenes and moving actors about was admirable.
The revelation of the Ghost of Christmas Present, however, was a fine example of misdirection and surprise. A subtle light behind Scrooge’s curtain made it seem like he would appear through the window, just like the previous ghost did. However, the entire set was literally shoved to the side by the entrance of Present’s magnificent, multi-tiered smorgasbord of nutcrackers, turkey and decorations, with the Ghost seated in the middle.
Finally, a major shoutout to one of the highlights of the production, the live, 11-piece orchestra directed by Jacob Carll was fabulous. What a treat to have a show with live music. It is much appreciated. One of many fine moves that make Tuacahn’s A Christmas Carol worth seeking out for Utah theatre lovers.
