BWW Reviews: Theatre Memphis Spikes the Eggnog with A CHRISTMAS CAROL

As my hand was turning to mincemeat while writing personal notes in Christmas card after Christmas card, I persevered, knowing that at the end of my travails there would be a reward: A much anticipated performance of Theatre Memphis' annual "gift" to Memphis, Charles Dickens' venerable A CHRISTMAS CAROL. I must admit: I have not attended every performance of that classic since its inception. I have, however, infrequently stopped to hang my wreath at its door; and I've seen some fine "Ebeneezers" over the years (I recall a former teaching colleague, Tom Ford, offering a tight, clipped interpretation and, of course, one of the best and most frequent of the actors donning those tattered gloves, Memphis acting favorite Barry Fuller). As I wrote card after card, I began to think about all the other interpretations of A CHRISTMAS CAROL that I have encountered through the years - Seymour Hicks; Reginald Owen (in the role MGM intended for an ailing Lionel Barrymore, who had become famous for his radio performance and who would have, no doubt, been superior; a not-all-that-bad consolation prize was his equally tight-fisted "Mr. Potter" in Frank Capra's IT'S A WONDERFUL LIFE); Orson Welles (in a Mercury Theatre radio performance); Sir Ralph Richardson (a beautiful audio recording); Alastair Sim (in the early 1950's British film and offering my favorite interpretation of the role; Danny Peary, in his fascinating ALTERNATE OSCARS, selects him as Best Actor for that performance); and, certainly, George C. Scott, in what was considered to be the version to end all versions. (And does anyone recall Jim Backus' "Mr. Magoo" in a delightful animated musical television special back in the 1960's?)

I suppose that Dickens first realized a conflict basic to most holiday classics: Materialism vs. Generosity of Spirit (and we all know which we should value more). Certainly, those of us who have known our Ghosts of Christmas Past can turn as soft as a Christmas pudding when we reflect on persons and possibilities we have outlasted - prompting us to tear check after check and flash that credit or debit card with the proficiency of a card shark. Scrooge, in fact, is the forerunner of all those famous pocketbook-obsessed personalities that thwart the admirable natures in any number of works: The aforementioned miser "Mr. Potter" in IT'S A WONDERFUL LIFE; Sydney Greenstreet's starved publisher in the Barbara Stanwyck favorite CHRISTMAS IN CONNECTICUT; the tightfisted (and tight-souled) sisters of poor "Cousin Sook" in Truman Capote's A CHRISTMAS MEMORY; Macy's and Gimble's in MIRACLE ON 34TH STREET; the nasty GRINCH WHO STOLE CHRISTMAS. I could, of course, go on.

The production of A CHRISTMAS CAROL at Theatre Memphis has undergone a transformation over the years. It has morphed much like Ebeneezer himself - only in reverse. While once the production was a fuzzily warm hug for all the children in the audience, it has become (for those of us who like our eggnog spiked) more interested in developing the contrast between the grayness and sadness that can overcome a city or a soul -- and the possibility of enlightenment and spiritual growth. To that end, Director Jason Spitzer and David Shipley as "Ebeneezer Scrooge" have fashioned a Dickensian world that is something more than a department store-like display. They are abetted by the late John Hiltonsmith's sound design and Michael Compton and Jason Spitzer's sound effects (just listen to those haunting and ominous church bells), Christopher McCollum's darkly atmospheric scenic and properties design, and Jeremy Allen Fisher's impressive lighting.

There is much to admire in this handsome production and in Mr. Spitzer's direction of it. Were it not for the tykes in the audience, this A CHRISTMAS CAROL would probably gain in power without an intermission. That aside, its many set pieces (including that almost surreally spinning bed) glide in and out of the play seamlessly, and the many singers and extras (perfectly costumed by Paul McCrae) are choreographed by the skillful Kathy Caradine, who incorporates nineteenth century dances into the proceedings. The traditional Christmas songs, under the musical direction of Jeff Brewer, aren't just randomly tossed in, but seem to comment on the characters and situations themselves. (I especially like the introduction to Scrooge, sung in narration to the melody of "God Rest, Ye Merry Gentlemen.")

The script itself wisely utilizes the artful words of the skillful Mr. Dickens, who with a broad brush could paint the most unforgettable of characters - and what a memorable group these are. John Rone, who succeeds in all roles British, has some wonderfully comic bits as the endlessly optimistic "Bob Cratchit," cheerful in the face of adversity; he is also cleverly cast as the giddy, generous "Fezziwig," who could be a first cousin to "Wilkins McCawber" of DAVID COPPERFIELD; Elizabeth Barnhart also does double duty as the respective wives of these two loving but impractical characters (and is spirited and no-nonsense in her confrontations with her husbands' present and absent oppressors).

It's the otherworldly spirits, though, that sweep into a scene and make stunning impressions. First to appear is Rob Aymett's miserable "Jacob Marley," justly punished with the chains of avarice. He soars aloft with great skill, and he is frightening enough in his admonitions to Scrooge that I could hear youngsters actually squealing with fright. I particularly enjoyed the unaccustomed spunk of the "Spirit of Christmas Past"; attired as if she were a young Queen Bess attending a high school prom, Lauren Ledger invests her with a much welcome spunk and spirit. (I cringe when I recall the old MGM "Ghost," a wistful, blonde Ann Rutherford, just a year or so from becoming "Polly Benedict" in those all-American Mickey Rooney/"Andy Hardy" films.) The stentorian voice of Kendall Karcher - whether speaking or, even better, singing -- is well suited to the "Ghost of Christmas Present" (I'd give $25 to take a ride in that cornucopian sleigh); Rob Aymett's spectral "Ghost of Christmas Yet to Come" may have no lines, but he certainly casts a baleful shadow.

Let's face it, though; this is Mr. Shipley's vehicle. He has a mighty nightcap to fill since Barry Fuller decided to step down from this performance, and he does so admirably. His pinched face (and pinched soul) are very well suited to the Scrooge we initially see, and his transformation from Mr. Hyde to Dr. Jekyll is effectively managed. The effect of his transformation is joyous - particularly as it affects those on stage who are unaccustomed to it. With Mr. Spitzer and Mark Rutledge as the Charity Collectors (these two, who have often worked together on other projects, know how to make a few moments more memorable than they have a right to be), John F. Scott as "Fred," and young Nathan Jones as a mercifully uncloying "Tiny Tim." Photo from the Cover Design by Missy McClendon. Through December 23.

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