Reviews of the Portland Production of a Christmas Carol the Musical

Before I'm cast equally the Scrooge of drama critics, allow me commencement this review of "A Christmas Carol" by stressing just how much I loved the lighting.

Small lanterns hang to a higher place Rob Howell'south deconstructed prepare to create a heavenly canopy of illumination. The Ahmanson Theatre, where this new version of the Charles Dickens classic is playing through Jan. 1, positively glows with festive excitement.

It is indeed a pleasance to be back at the Ahmanson, which has been nighttime throughout the pandemic. Just I found myself resisting this Old Vic product that has arrived in Los Angeles by mode of Broadway, where it won v Tony Awards.

Originally conceived and directed by Matthew Warchus, this fresh take on "A Christmas Carol" has been re-tailored for its Southern California run. Thomas Caruso directs a product that stars Bradley Whitford equally a milder-than-usual Ebenezer Scrooge and features the stellar Kate Burton as the Ghost of Christmas Past and vibrant Alex Newell as the Ghost of Christmas Present.

Usually when encountering "A Christmas Ballad," you don't have to worry about sorting out the plot. But the story has been significantly adapted by Jack Thorne, who received a Tony for his script for "Harry Potter and the Cursed Child" and bad marks for his book for the musical disaster "King Kong."

Scrooge's journeying has been altered to the indicate that should you become momentarily distracted by, say, your shopping list, you might find yourself asking, "Expect, now who is this grapheme again? And what is she doing in 'A Christmas Ballad'?"

Bradley Whitford equally Scrooge is visited by Alex Newell'southward Ghost of Christmas Present in "A Christmas Ballad."

(Joan Marcus)

One of the obstacles to paying shut attending is purely technical. The amplification of the actors creates a shrieking nightmare. When certain performers speak, whether it's an individual chorus member zealously delivering the intermittent narration or ane of the principals having an emotive moment, the volume tin can exist earsplitting.

"Why are they screaming?" I wondered repeatedly. Merely of course the problem wasn't the actors. It was the engineering. How could such a fixable problem be allowed to mar an opening nighttime as momentous equally this one? Newell was so loud I kept hoping that the sound system would go on the fritz and then that we could all just enjoy the thrill of such a commanding voice.

Thorne's accommodation operates under the Wordsworthian principle that the child is father to the man. Burton's Ghost of Christmas Past, a moral psychologist disguised as a spirit, reunites Whitford's Scrooge with his younger self (played past Harry Thornton).

We encounter an innocent lad playing with dolls at his boarding school and and so see how all the goodness was crushed out of him. After a visit from his sister, Petty Fan (Glory Yepassis-Zembrou), a minor grapheme in Dickens given a larger office by Thorne, Scrooge is roughly pulled out of school by his tyrannical father (Chris Hoch).

Little Fan will somewhen return to remind Scrooge that he one time had a eye. But there'due south other ghostly concern that must be attended to offset.

The Ghost of Christmas Past ushers Scrooge to his youthful apprenticeship to replay for him the way he met and inevitably lost the love of his life, Belle (Sarah Hunt), his boss's daughter. (Making money turns out to have ever been his priority, even when he was capable of romance.) Newell's Ghost of Christmas Present, a more hectoring spirit, volition take over to reveal the tragic consequence of a miserly life.

Past the time Footling Fan returns, Scrooge's transformation is pretty much assured. There's non much drama in the struggle. Whitford (looking very much like the version of Stephen Sondheim he plays in "Tick, Tick … Boom!") is too eager to be liked by the audience to brand a convincing grinch. The ogre business is every bit stagy as a phony mustache.

In truth, this Scrooge actually doesn't demand these late-night visitations from across the grave to redeem him. A warm cup of cocoa with a few marshmallows might do the trick.

I had no problem imaginatively entering Dickens' world in 2018'south bracingly original version of "A Christmas Ballad" at the Geffen Playhouse that was populated nearly single-handedly past the multitudinous acting genius of Jefferson Mays. Only between the hectic nature of the staging and the nowheresville abstraction of the set, I felt completely outside the Ahmanson production.

At that place are, however, some lovely mitt bells to continue with the enchanting lighting design of Hugh Vanstone. My ears may have been besides much in a defensive crouch to fully appreciate the score past Christopher Nightingale, but the music strives to spread holiday cheer. (During the extended opening nighttime curtain call, these bells were deployed in a tribute to Sondheim led by Whitford, who couldn't help noting that this "may exist the least Stephen Sondheim show that y'all have ever seen.")

What near Bob Cratchit, you ask? He's played by Dashiell Eaves and he'due south given short shrift in Thorne's reworking. Tiny Tim (Cade Robertson played the role at the reviewed functioning), however, is an utter doll.

This production must take a fondness for endings, for several are included. The performers stomp, shout and sing through the aisles and in the balcony as the play draws to a shut. At that place are some L.A.-specific jokes as Scrooge gathers delicacies from local sources for the Christmas feast he's going to lavish on the bug-eyed Cratchits.

Information technology's all good communal fun — and God anoint every i who enjoys the show more than I did.

'A Christmas Carol'

Where: Ahmanson Theatre, 135 N. Grand Ave., Fifty.A.

When: eight p.thou. Tuesdays-Fridays, 2 and 8 p.m. Saturdays, one and 6:30 p.chiliad. Sundays. (Call for exceptions.) Ends Jan. 1.

Tickets: $40-$179 (subject area to modify)

Contact: (213) 972-4400, CenterTheatreGroup.org

Running fourth dimension: 2 hours (including one intermission)

shirleyopocone44.blogspot.com

Source: https://www.latimes.com/entertainment-arts/story/2021-12-03/christmas-carol-los-angeles-bradley-whitford-review

Share this post