The Guthrie Theater is celebrating 50 years of
A Christmas Carol* this year, and as a 21-year season subscriber, I have seen 19 of those productions (including the virtual one in 2020). There simply is nothing like it. Charles Dickens' story is one of such hope, such joy, such belief in the idea that it's never too late to change and grow and become a better person, that gratitude, kindness, and generosity are the highest of virtues. After 50 years, the Guthrie's production is a well-oiled machine, guaranteed to deliver the finest entertainment and the best quality production. But in addition to feeling familiar and comfortable, it also feels fresh and new every year, with the addition of new faces or adaptations, and it's filled with so much sincerity and heart that it will melt the Scroogiest of hearts. This is their fourth year using this succinct and faithful adaptation by Lavina Jadhwani, and the absolutely stunning design, with director Addie Gorlin-Han returning from last year's production. So if you haven't seen the Guthrie's
Christmas Carol since before the pandemic, you should definitely
check out this new version before it closes on December 29. And even seeing it for the fourth time, it's still chock full of delights for the eyes, ears, heart, and soul.
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| David Beach as Scrooge (photo by Dan Norman) |
The biggest new thing in this year's production is Scrooge! For the past three years of this adaptation, Matthew Saldivar was Scrooge. This year,
Broadway/
TV/film actor David Beach joins the cast in his Guthrie debut, and brings his own spin to the character. He's an exceedingly grouchy Scrooge (in the best way) in the beginning of the story, attentive to and affected by the things the ghosts show him, and believably transformed into the delightfully giddy post-ghost Scrooge.
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Christmas Present and Scrooge observe the Cratchits
(photo by Dan Norman) |
The large ensemble cast is filled with new and returning local favorites, playing specific characters as well as general townspeople and chorus members. Eric Sharp steps into the shoes, or wings, of the Ghost of Christmas Past; Regina Marie Williams returns to the big and joyful role of the Ghost of Christmas Present; and dancer Nathan Huberty is somewhere inside the scariest Ghost of Christmas Present, with movements both graceful and jarring. After several years in various ensemble roles, Tyler Michaels King is a wonderful Bob Cratchit, natural and funny and heart-breaking in the Cratchit's future grief. Last year's Cratchit, John Catron, moves over to the role of nephew Fred, playing a sweet familial relationship with David's Scrooge.
Carol newcomers Max Wojtanowicz, Becca Claire Hart, and Audrey Mojica (the latter two making their Guthrie debuts) join ensemble members who have done the show from a few years to a few decades, including Stephanie Anne Bertumen as Belle, China Brickey as Fred's wife et al, Paul de Cordova as the genial Mr. Fezziwig, former Scrooge Nathaniel Fuller as Old Joe, Emjoy Gavino as Mrs. Cratchit, Sebastian Grim as young Scrooge, Emily Gunyou Halaas and Summer Hagen as Fezziwig daughters and more, and Charity Jones as a devastatingly scary Marley. Plus additional adult and (adorable) child actors filling out the rich world of the story.
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| photo by Dan Norman |
Matt Saunders' set design is stunning, effective, and haunting, and features many moving parts and pieces that separate and combine to create the different locations of the story. Rotating concentric circles bring set pieces on and off (tiny houses, gravestones, streetlamps, and more), and create interest in movement of the actors. A sliding backdrop of London buildings moves to reveal a massive two-story rotating piece that is Scrooge's abode. A huge metal staircase piece is utilized in several different ways including as the deck of a ship. Combined with the lighting (designed by Yi Zhao), the effect is a dark Victorian cityscape that is also filled with magic and wonder.**
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| Scrooge at Fred's party (photo by Dan Norman) |
The gorgeous and lush Victorian costumes (designed by Toni-Leslie James) range from rich and deeply colored gowns (with gigantic skirts) and suits with every imaginable detail (top hats!), to the modest garb of the lower classes, to the colorful and fantastical costumes of the ghosts. And while this isn't a musical, there are many moments of music, both as interstitials and of course the Fezziwig party scene. The cast sings beautiful and festive Victorian Christmas carols, either a capella or to a recorded track (with music direction by Jason Hansen). The lovely dancing and movement (including a cool clock formation) leaves you wanting more (choreography by Regina Peluso). In fact this is a rare show that felt too short, I wasn't ready for it to end; it does not overstay its welcome, leaving you satiated but not overstuffed.**
I look forward to the day when I can say, "we don't really need this story anymore, humanity has learned this lesson, we're kind to each other and help others when they need it and know that we're all in this together." And maybe when that day comes, the Guthrie will stop doing this show. But it's quite obvious that the world needs more of what this story espouses - goodness and beauty, kindness and compassion, gratitude and generosity, hope and joy, and unity. It's a beautiful and necessary thing to be in that space for even a short time.
