Before I get cast as Scrooge by drama critics, let me start this review of “A Christmas Carol” by emphasizing how much I loved the lighting.
Small lanterns hang over Rob Howell’s deconstructed set to create a celestial canopy of lighting. Ahmanson Theater, where this new version of the Charles Dickens classic plays through January 1, shines positively with festive excitement.
It’s really a pleasure to be back at Ahmanson, which has been dark throughout the pandemic. But I found that I resisted this Old Vic production that has arrived in Los Angeles via Broadway, where it won five Tony Awards.
Originally conceived and directed by Matthew Warchus, this fresh version of “A Christmas Carol” has been tailored for its Southern California race. Thomas Caruso directs a production starring Bradley Whitford as a milder than usual Ebenezer Scrooge and features star Kate Burton as Ghost of Christmas Past and vibrant Alex Newell as Ghost of Christmas Present.
Usually, when you encounter “A Christmas Carol”, you do not have to worry about sorting the plot. But the story has been significantly adapted by Jack Thorne, who received a Tony for his screenplay for “Harry Potter and the Cursed Child” and poor grades for his book for the musical disaster “King Kong”.
Joakim’s journey has been changed to the point that if you are momentarily distracted by e.g. your shopping list, you may find yourself asking, “Wait, who is this character again? And what is she doing in ‘A Christmas Carol’?”
Bradley Whitford as Joakim is visited by Alex Newell’s Ghost of Christmas Present in “A Christmas Carol”.
(Joan Marcus)
One of the obstacles to being very attentive is technically. The reinforcement of the actors creates a screaming nightmare. When certain performers speak, whether it’s an individual choir member jealously delivering the intermittent narrative or one of the lead roles having an emotionally charged moment, the volume can be deafening.
“Why are they screaming?” I wondered repeatedly. But the problem, of course, was not the actors. That was the technique. How could such a solvable problem be allowed to spoil an opening night as significant as this one? Newell was so loud that I kept hoping the sound system would go on fritz so we could all just enjoy the excitement of such a commanding voice.
Thorne’s adaptation operates under the Wordsworthian principle that the child is the father of the man. Burton’s Ghost of Christmas Past, a moral psychologist disguised as a spirit, reunites Whitford’s Joakim with his younger self (played by Harry Thornton).
We meet an innocent kid playing with dolls at his boarding school and then see how all the good was crushed out of him. After a visit from his sister, Little Fan (Glory Yepassis-Zembrou), a minor character in Dickens who gets a bigger role from Thorne, Joakim is roughly pulled out of school by his tyrannical father (Chris Hoch).
Little Fan will eventually return to remind Joakim that he once had a heart. But there are other ghostly things that need to be taken care of first.
The Ghost of Christmas Past heralds Joakim for his youthful apprenticeship to play for him the way he met and inevitably lost the love of his life, Belle (Sarah Hunt), his boss’ daughter. (Making money always turns out to have been his priority, even when he was able to make romance.) Newell’s Ghost of Christmas Present, a more hectic spirit, will take over to reveal the tragic consequence of a miserable life.
By the time Little Fan returns, Joakim’s transformation is largely assured. There is not much drama in the fight. Whitford (very similar to the version of Stephen Sondheim he plays in “Tick, Tick … Boom!”) Is too eager to be held by the audience to make a compelling grinch. The Ogre company is as quiet as a fake mustache.
In truth, this Joakim really does not need these late visits from the other side of the grave to redeem him. A hot cup of cocoa with a few marshmallows might do the trick.
I had no trouble imaginatively entering Dickens ‘world in 2018’s original version of “A Christmas Carol” at the Geffen Playhouse, which was almost on its own populated by Jefferson Mays’ diverse acting genius. But between the hectic nature of the staging and the nowheresville abstraction of the set, I felt completely outside the Ahmanson production.
However, there are some lovely hand clocks to match with Hugh Vanstone’s enchanting lighting design. My ears may have been too much in a defensive slump to fully appreciate Christopher Nightingale’s score, but the music strives to spread Christmas cheer. (During the extended opening night curtain call, these bells were inserted in a tribute to Sondheim led by Whitford, who could not help but notice that this “may be the smallest Stephen Sondheim show you’ve ever seen.”)
What about Bob Cratchit, you ask? He is played by Dashiell Eaves and he has given a short time in Thornes reworking. However, Tiny Tim (Cade Robertson played the role in the reviewed performance) is a pure doll.
This production must have a penchant for endings, for more are involved. The performers stomp, shout and sing through the hallways and on the balcony while the piece paints towards the end. There are some LA-specific jokes while Joakim collects treats from local sources for the Christmas banquet he will be offering the bow-eyed Cratchits.
It’s all good fun fun – and God bless everyone who enjoys the show more than I did.
‘And Christmas carols’
Where: Ahmanson Theater, 135 N. Grand Ave., LA
When: 20.00 Tuesdays-Fridays, 14.00 and 20.00 Saturdays, 13.00 and 18.30 Sundays. (Call for exceptions.) Ends January 1st.
Tickets: $ 40- $ 179 (subject to change)
Contact: (213) 972-4400, CenterTheatreGroup.org
Runningtime: 2 hours (including a break)
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