Review
A CHRISTMAS CAROL
Theatre Calgary
Starring Stephen Hair
Adapted by Greg Nelson and Ian Prinsloo
from the Charles Dickens story
Directed by Nikki Loach
Runs until December 24
Max Bell Theatre (Epcor Centre)
Charles Dickens’s A Christmas Carol is a classic tale that almost everybody is familiar with, and for good reason. The story is timeless, the characters are identifiable and the message is clear. Unfortunately, Theatre Calgary’s 2003 production falls short of these expectations a few times over.
Most of the problems with this production lie within the script. Since I last saw the show a few years ago, certain scenes and characters have been removed and the language has been simplified. One of the challenging things about producing a classic story is that the audience has expectations. Adjustments are necessary in any adaptation, but when you make even the smallest change without providing your audience with an interesting choice, it is disappointing.
The familiar elements of the story are all here – the three spirits show up, Tiny Tim is on crutches and Ebenezer Scrooge is a miser – and the outcome is the same. The journey, however, is missing from this production. For instance, young Ebenezer has no interaction with the charming Belle at the Fezziwig party, so when the Spirit of Christmas Past moves on to show their inevitable breakup, I felt nothing because there was no connection between them in the first place.
The supporting cast is almost entirely new and, while some members are still trying to find their footing, most of the performances are adequate. Few of the actors stand out because they never seem to be onstage long enough to present an arc – with 17 actors portraying 51 roles, it is understandable.
Stephen Hair’s performance as Scrooge is an institution, with 2003 marking his 10th year in the role. He is both energetic and captivating on stage, but his Scrooge merely moves from sarcasm to giddiness instead of from desperately mean to enlightened and grateful.
The costumes, designed by Charlotte Dean, read very well against the predominantly black stage design. Dany Lyne’s set serves its purpose, providing minimal style and practical application in its status-bearing levels. The lighting moves freely from the festive to the frightening, from natural to abstract, and it all works in the context of director Nikki Loach’s production.
A new addition to the design this year is a series of illustrations projected on to the set. Illustrated by local artist Ty Semaka, these projections provide added texture to the world of the play. The audience is instantly transported through Scrooge’s past, present and future with these stylized backdrops.
This production has definitely evolved over the years, and perhaps these additions and subtractions are all in the spirit of creating a more family-oriented show, but the heart of A Christmas Carol is getting lost in the process. Don’t underestimate your children or your grandparents – they can handle a Scrooge with a mean streak. They can handle the implications of a class struggle. They can handle being confronted with challenging language and images. After all, when you take the moral away from the morality tale, you lose the purpose and impact of the story. |
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