Parker Theatre’s Unique CHRISTMAS CAROL Returns

SOUTH SALT LAKE — “Marley was dead to begin with” are the famous first lines of Charles Dicken’s A Christmas Carol. But in Parker Theatre’s production, Marley is definitely alive (at least for a scene). This is one of many contemporary changes to the familiar story which make it a unique work of theatre worth seeking out.

This is the third year that Parker Theatre has staged this adaptation, directed by Spencer Hohl. Ghosts play an outsized role here, particularly Marley, who dies a workaholic’s death onstage at his desk and haunts Scrooge through several scenes before appearing in his bedroom.

In a clever addition to the source text, Marley, played with gusto by Stuart Mitchell, declares that a beggar seeking relief is “no business of mine,” nicely setting up his later repentant lamentation “Mankind was my business!” His partner Scrooge is played by Mark Knowles with a low, gravely voice and measured delivery and precise physicality to convey a character obsessed with controlling the environment around him. 

The talented cast includes David Hansen as Christmas Present, whose large frame and combination of festive warmth and devastating condescension make a compelling character. One moment, Hansen is extolling the season with a twinkle in his eye, the next he’s scouring at Scrooge’s miserliness. His wise, sensitive yet strong performance was a highlight of the production. With impressive range, Hansen also portrayed wicked pawnbroker Old Joe, authoritatively snapping at clients as he ripped them off while pretending he was doing them a favor.

Present carries a lamppost which, when lit, blesses people with the spirit of Christmas. This device is used to illuminate and provide a new perspective on several well-known scenes. For example, when the understandably embittered Mrs. Cratchit (played by Kristi Curtis) is at a loss for a toast for Scrooge, Present’s lantern lights up, causing her to — begrudgingly — toast Scrooge’s health.

Helene Parker excelled reprising the role of Christmas Past. Her character makes a dramatic entrance, suspended in the air. Parker’s ethereal yet warm vocal delivery was wonderful to listen to, and her white dress, blonde wig and light-up crown effectively designated her as a nymph or sprite. Costume design was by Rebecca Fenton and hair and makeup design was by Shannara Jones.

The cast was strong without exception. However, one direction choice stood out as problematic. During group scenes like Fred’s house and the pawnshop many characters spoke over each other. While this effectively conveys how people speak in reality, it did make it difficult to understand where to focus as an audience member in these scenes.

The production’s many supernatural moments are punctuated with heavy use of projection lighting and music cues (set and lighting design was by James B. Parker, and sound design was by Hohl). The music did feel over-the-top at some points; such as when its grandiosity overpowered the entrance of Christmas Present, and a maudlin scene at Tiny Tim’s grave.

While the projection lighting effectively gave an otherworldly character to many scenes, it also had some shortcomings. When Past and Scrooge faced backstage to marvel at the upkeep of Cratchit’s house (which was supposed to be projected on a scrim), there was no house to see as the lighting cue was late. Hohl’s blocking placed actors’ backs and/or faces away from the audience many times; thanks to the theater’s wonderfully intimate seating, this usually didn’t present a significant issue for clarity, although it felt unusual to not see actors’ faces while they were speaking so regularly.

Stage lighting (also by James B. Parker), was rapturous, particularly in Scrooge’s bedroom. Multiple gobo lights conveyed the sense of a three-dimension space with various windows casting light from different sources. One of the hallmarks of James B. Parkers’ impressive lighting designs is how they masterfully define physical space. Here, Scrooge’s armchair and fireplace, which play an important role in Marley’s appearance, are ensconced in their own, unique geometric and color patterns. A scrim is also used to separate the stage, particularly as a barrier for past events, like Scrooge’s school days.

Ironically, one of the most interesting additions to the source text presented unfortunate blocking. Instead of going straight home after work, Scrooge goes to a pub for some discount dinner. This makes sense, because he later accuses Marley’s ghost of being a “bit of beef” or “underdone potato”. But Marley crossing Scrooge and sitting in the booth behind him belied believability. Scrooge would likely recognize his best friend at that distance, and a ghost in chains mere inches away would probably provoke greater alarm. Perhaps a more gradual progression of the ghost through scenes would feel more natural.

The production, adapted by Hohl, is punctuated with many more successful and innovative new scenes, including miners celebrating Christmas underground and liberated debtors delighting in Scrooge’s demise. These scenes are inventively imagined and intelligently written, and provide deeper character motivations and higher stakes than most “Carol” adaptations.

With strong performances and a compelling, original take on the familiar tale, Parker Theatre’s production of Christmas Carol provides an excellent evening of entertainment. This adaptation adds depth beyond other productions, creating an engaging, emotional resonant experience. Audiences who missed it in 2023 and 2024 and those who’ve seen it before would do well to spend another evening with Scrooge and his ghosts at Parker Theatre.