For years Nashville Repertory Theatre presented the modern holiday favorite, A Christmas Story as their annual seasonal offering and it was a delight. This year they’re going a more traditional route, but with a twist as they present a newly adapted version of A Christmas Carol. When you think of classic Christmas stories, Charles Dickens’ A Christmas Carol is likely to be among the first that comes to mind. Since first being gifted to the public by way of a novella published back in 1843, Dickens’ now-familiar story of miserly miserable Ebenezer Scrooge has delighted audiences for nearly two centuries. While audiences witness Scrooge being visited by three Christmas Spirits, they’re reminded that the true spirit of Christmas is simply kindness towards others. Thanks to Nashville Repertory Theatre’s Broadway-worthy presentation, adapted by The Rep’s Artistic Director Micah-Shane Brewer, Nashville audiences are getting the chance to see this timeless story and the ever-present reminder that good will is the greatest gift as A Christmas Carol continues at TPAC’s James K. Polk Theatre through Sunday, December 17.
Those familiar with A Christmas Carol, and let’s face it, who isn’t?, might recall that the story is rather brief. After all, a synopsis might go something like this…Scrooge is mean. Scrooge sees the ghost of his former partner. He has a sleepless but eventful night. He has a change of heart. Scrooge is nice again…To that end, the play. in its standard form, is rather brief. To flesh it out and make it the gorgeous, enchanting and emotional spectacle it is in it’s current iteration with The Rep, in addition to directing this production, Brewer also adapted the classic story, extending a few scenes and adding a choir of townsfolk performing musical interludes between scenes—some classic carols—and some newly written by Brewer and arranged by The Rep’s Musical Director/Arranger Gregg Perry. It’s those musical moments and extended scenes that help The Rep’s A Christmas Carol stand out, and, if you ask me, should make it The Rep’s new annual holiday tradition.
One such musical interlude opens the show. As the curtain rises on Scenic Designer Gary C. Hoff’s idyllic London Town, ensemble members are seen bustling about shopping and readying for the coming holiday. A group of carolers forward and begin to sing Almost Christmas Day, one of the handful of new works written by Brewer and arranged by Perry. I gotta be honest, as soon as the first musical interlude began, I knew I had to reach out to Brewer to get a little insight. Of this opening carol, Brewer revealed, “I wanted a song that helped to establish time and location, and to introduce the people of London (as well as Scrooge). I looked for a carol that would fit and everything I found just felt forced. So one day, early on in the process, I said “well, maybe I’ll just write a song,” somewhat joking. But then I started jotting some lyrics down and thought that this might be the best way to effectively achieve what I needed for the opening. So the lyrics came first, and then when it was time to set the lyrics to music, the tune and lyrics did not fit. Back to the drawing board, I wrote a melody, used a few of the original lyrics, but ended up writing a lot of new lyrics to fit. Songwriting for the theatre is MUCH harder! I broke up dialogue between the verses to help begin setting the story.”
Brewer’s plan worked perfectly as the audience is immediately transported back in time and invited to experience the familiar story once again. Among those features throughout as carolers are Christine Toole, Ivory Bodnar, Shelby Talbert, Ben Friesen, Galen Fott and Brian Charles Rooney. While most of the ensemble sing at one point or another, let me be clear…this isn’t a full-on musical, the carols are simply perfectly peppered throughout to fill the gap between scene changes and to add a bit of punch to the progression of the story. It’s not like Scrooge breaks into song mid-sentence or anything like that. Instead, The inclusion of the occasional carols, old and new, is as welcomed and soothing as a cup of Hot Cocoa on a brisk winter’s morn.
Among the traditional carols included: The First Noel, Deck the Halls, I Saw Three Ships, In The Bleak Midwinter, We Wish You a Merry Christmas and more.
In addition to the opening tune penned by Brewer and Perry, Act One also features a song titled Blessing, performed by Jennifer Whitcomb-Oliva and the Cratchit family. Of this tune, Brewer said, “I knew I wanted to may the prayer a song but didn’t want it to be long. So, I wrote the lyrics as I was writing the script, and then a few months later came back to it and gave it a melody. It’s simple, which is exactly what I wanted.”
Act Two features another original written by Brewer and arranged by Perry, It’s Christmastime Again, with includes a solo by Scrooge himself. Brewer explained, “I wanted a song that established the feeling of Christmas Day, the hopes and the happiness one feels at the time. As I started writing the melody, I realized some of my original lyrics didn’t work. I wanted the song to feel and sound like it could be from the period, so the melody sounds very traditional. As I was revising the second verse of lyrics, I thought why not give Scrooge a solo here? He can sing about how his heart has been transformed. I’m really happy with the number, and I must admit, even I go around singing and humming it, so I guess it’s an earworm.”
Speaking of Scrooge, Matthew Carlton is simply brilliant in the role, and it’s a bit of a full-circle moment! His bio reveals his first foray into A Christmas Carol at The Rep came in 1990 when he was cast as Scrooge’s young nephew, Fred. Over the years, Carlton says he’s played a dozen or more characters in eleven different production. I’m here to tell you though, he better free up his winter calendar going forward because it’s official, Matthew Carlton now ranks among my favorites to have ever taken on the role. He’s in good company, too, considering Sir Michael Caine’s Scrooge from The Muppet Christmas Carol tops the list! What’s interesting about Carlton’s performance is, it’s all-encompassing. Yes, he can mean-mug with the best of them, but the scene that struck me most, and may or may not have made my eyes sweat takes place during a party when Scrooge is transported back in time by Kris Sidberry’s beautiful Ghost of Christmas Past. In the scene, Carlton’s Scrooge sees his beloved Belle (Ivory Bodnar) enjoying the merriment of a dance with fellow holiday revelers. Caught up in the moment, but forgetting that he’s only a shadow presence, Scrooge attempts to join in the fun, getting caught at one point in the center of a quartet of dancers. Of course unseen because he isn’t actually there in his present form, he’s ignored as the dancers continue moving about without him. Within just a few minutes as this scene plays out, Carlton, under the keen direction of Brewer, runs the gamut of emotion from excitement to regret and sadness. Being a self-confessed Scrooge myself, I was a puddle.
The show–and its cast of beloved Nashville actors including such theatrical luminaries as Galen Fott and Denice Hicks as Mr. and Mrs. Fezziwig–is filled with the nuanced, but brilliant moments. After seeing Hicks and Fott bubble and giggle about as the Fezziwig’s, their’s is a party I’d gladly attend.
You know you’re a great actor when just a projection of your face can elicit an internal squee. That’s the exact reaction when another longtime Nashville favorite, Brian Webb Russell’s face appeared on Scrooge’s door as the “dead to begin with” Jacob Marley. In an early scene, when Marley visits Scrooge to warn him of the coming visitors, Russell’s Marley rattles his chains as he floats about the room. More fanciful than frightening, a joy to watch. He’s equally enjoyable when paired with Deb Meeks (making her Rep debut) as a rather boisterous party-goer who’s husband (Russell) is partaking of a few too many Christmas ‘spirits’ of his own. These two need to be paired together more!
Still more of my favorites, Eric D. Pasto-Crosby and Jennifer Whitcomb-Oliva are featured as Bob Cratchit and his wife, Emily. Pasto-Crosby plays the kindly Cratchit with sweet conviction. Whitcomb-Oliva proves her range, and her acumen as Bob’s devoted wife, Emily, but my favorite scene comes when she’s about to give Scrooge a bit of fiery what for, only to realize he’s seen the error of his ways and quickly turn on that megawatt charm once again. God, thank you for the gift that is Jennifer Whitcomb-Oliva on stage, even in a supporting role, she’s a scene-stealing delight.
Can’t talk about A Christmas Carol without talking about the Spirits. Mentioned above, Kris Sidberry, making her Nashville Rep debut, is simply magical as Ghost of Christmas Past. Delightful, sweet and fun…all the things we think of most when we remember the past are personified in Sidberry’s performance. She doesn’t just shine in her performance, she sparkles. In part, thanks to Costumer Designer, Melissa Durmon’s literally and figuratively glowing gown!
Brian Charles Rooney, seen last holiday season as Buddy the Elf in Nashville Rep’s Elf, is larger than life as Ghost of Christmas Present, and what a present his performance is. Towering above Carlton’s Scrooge (did I see light-up disco platforms under Rooney’s velvet robe?) Rooney’s Ghost of Christmas Present is cheeky, loud and bossy. Everything you could wish for in a ghost guide. Again, kudos to Durmon, and added kudos to her and her wig department team for transforming Rooney into an almost unrecognizable bacchanalian party god with flowing ginger locks and beard. Didn’t think I was into scruffy gingers, but you never know. As mentioned previously, Rooney is among those featured throughout the action as a caroler. I have it on good authority he had been dealing with a bit of laryngitis during the opening days of the show. All I know is, if that’s Rooney with laryngitis, belting out and hitting those unfathomable soprano-high notes, the rest of the run the audiences were in for a treat.
Round out the ghostly trio is Ben Friesen as Ghost of Christmas Future. Even though the show is about to enter its final week at the time of this review being posted, I’m a staunch believer that spoilers do just that…they spoil aspects of shows that are meant to surprise and entertain. To that end, Friesen’s Ghost of Christmas Future definitely delivers. Visually hauntingly brilliant and looming large, Friesen’s appearance is definitely a powerful one. Suffice it to say, his performances a Ghost of Christmas Future would no doubt make Jim Henson proud..and that’s as much of a spoiler as you’ll get from me. Not to fret though, he’s also featured throughout the show, most notably as Dick Wilkins, a friend and colleague of younger Scrooge.
Speaking of younger Scrooge, Evan Fenne is making his debut as Scrooge in his younger days. His scenes with Ivory Bodnar’s Belle are perfectly sweet and though we know their fate, the hopefulness of their performances together is joyous and further illustrates Scrooge’s hidden, but still-present redeemable qualities.
The entire cast is filled with great supporting performances. Mention should be made of Max Fleischhacker as Scrooge’s Nephew Fred, Ethan H. Jones as Mr. Blakeley, Abby Hopper as Alice Cratchit, Alex Hillaker as Henry Cratchit, David Long III as Peter Cratchit, Shelby Talbert as Martha Cratchit, Elle Wesley as Belinda Cratchit, Caroline Henry as Alice Cratchit and Emily Hooper and David Matthew Clark (on alternate nights) each sharing the role as Tiny Tim.
Nashville Repertory Theatre’s A Christmas Carol on stage at TPAC’s James K. Polk Theatre continues through Sunday, December 17. CLICK HERE for tickets or more information. Following a brief break in the new year, Nashville Repertory Theatre will present Paula Vogel’s Indecent on stage at TPAC’s Andrew Johnson Theatre as The Rep’s 2023/2024 season continues. CLICK HERE for tickets to this powerful play. In the meantime, check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.
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Further isolating Kevin, his parents are never seen in the play, and only his Mom’s voice is heard from off-stage from time to time. As the play begins, the audience gets their first glimpse at the show’s only set, the attic. Brilliantly created by Scenic Designer Anna Louizos with assistance from D. Craig M Napoliello, with lighting by Alessandra Docherty and assistant Isabella Gill-Gomez, the attic is easily recognized as both the family’s preferred storage area for seasonal decoration and Kevin’s former childhood playroom/teenage hangout. With pop culture relics from the far-distance 1980s, the attic set design is cleverly littered with things like a discarded GameBoy, an old Chineses Checkers boardgames and what appeared to be a single right Nike Air. But it’s the shrine to everyone’s favorite Country Music Songbird, Dolly Parton that’s most impressive…and I must admit relatable. I mean, switch all the Dolly posters, magazine pictures and photographs covering the walls for, say The Bionic Woman’s Lindsay Wagner, and you’d have my childhood bedroom.
While most of the songs featured were written by Dolly, even the prolific singer/songwriter occasionally records tunes penned by others. Why’d You Come in Here Lookin Like That, Sing For the Common Man and the Dolly Parton/Kenny Rogers megahit, Islands in the Stream are all prefect placed and wonderfully sung. Interestingly, Islands, written by the Bee Gees, is followed by a funny, but very un-Dolly bit of snark courtesy Vilanch’s script.
RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s JOY TILLEY PERRYMAN
RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s ROBIN WALLACE
RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s TABITHA BOZEMAN
RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s BILLY JENKINS