CHICAGO—It took him five weeks to write what he envisioned as a ghost story, and that it starts as a frightening yarn may explain why Charles Dickens’s masterpiece “A Christmas Carol” has a rather gloomy opening.
We know the story: The tale starts when we learn that Ebenezer Scrooge is very rich but his wealth has not brought him happiness. He is stingy with the coal that warms Bob Cratchit, his clerk; he feels ill used by having to give Cratchit Christmas Day off; he refuses to give anything to charity; and he rejects his nephew’s invitation to Christmas dinner. And when his nephew wishes him a simple “Merry Christmas,” Scrooge responds with “Bah! Humbug!”
All is not lost, however, because Scrooge is given another chance at reclamation. He is visited by the ghosts of the past, the present, and the future, all of whom take part in opening Scrooge’s eyes and heart.
From the time that it was published in London in 1843, the novella has been adapted into many plays and movies, and it has become over the centuries the most popular entertainment at Christmas—and for very good reason.
The 45th Take
The play seems to get better every year. This is primarily due to its compelling star Larry Yando who, having played the part for 15 years, brings great compassion, intelligence, and poignancy to the role. Yando is the reason that we see Scrooge not as a cartoonish skinflint, but as a human being who is not only saved but who ends up saving others as well.
Directed by Jessica Thebus, the rest of this exceptional production’s terrific ensemble brings warmth to many of Dickens’s other characters, which makes the show as delicious as a Christmas pudding.
Fun Spectacle
As always, the Goodman features accomplished artists that create some dazzling, even frightening, special effects, making the work a fun spectacle for children and adults. The scene in which Scrooge is visited by his long dead partner Marley, who keeps popping in and out of Scrooge’s bedroom, and the dark funeral monolith of his future mortality are especially gripping.
These great effects are created by set designer Todd Rosenthal, lighting by Keith Parham, and sound by Richard Woodbury. In addition, there’s the atmosphere of Victorian London that’s created by Heidi Sue McMath’s costumes and composer Andrew Hansen’s tunes that are given a nice touch by music director Malcom Ruhl.
Among the many things about “A Christmas Carol” that resonate more than ever with our modern age is its focus on kindness, understanding, doing the right thing, and celebrating the birth of the one for whom Christmas is named: Throughout, the salutation is “Merry Christmas.”
This is a tale of redemption—a great blessing to emerge from what begins as a dark tale. After all, what could be more important than saving a man’s soul?
Indeed, when we hear Tim say at the play’s end, “May God Bless us, every one,” it feels as though we have been personally touched and blessed by Charles Dickens and the Goodman Theatre.
