Review: A CHRISTMAS CAROL Reinvents Scrooge

It's quite a feat to take one of the most over-done holiday shows ever and make it feel brand new, but that's exactly what The Acting Ensemble has done with their recently opened show, A Christmas Carol. It's a story that everyone knows, and has probably seen time and time again, but through the approach that director James Geisel has taken, the show feels infinitely more interesting than the average theaters' take on the classic.

Studio 217, The Acting Ensemble's home, is small, but the set design makes the room feel much larger using different platforms, some at varying levels, that sort of fit together like an unfinished puzzle, leaving gaps between them. There are some stools placed about the stage and coat racks that serve as costume holders; for the most part, it's pretty bare, but it allows for a creative playing space. This is important because in this small space, the story travels to various locations, but there isn't enough room to create them. By leaving the stage mostly empty, the actors can "take" the audience to the settings through their acting and storytelling skills. Creating locations through acting alone is no small task, but the talented cast accomplishes it. From how the stage works through the performances from the cast, it's easy to imagine where the scene is taking place, even though there aren't any obvious set features to denote the location. The performances from the actors really draw you into the scene; you are enthralled from the acting alone.

The Acting Ensemble's take on A Christmas Carol is an original adaptation by director James Geisel. Geisel's adaptation focuses more on the "ghost" aspect of the story, with three main ensemble actors who work together simultaneously as narrators and characters, with one other actor being the sole player of Scrooge. The three ensemble actors are Melissa Gard, Phil Kwiecinski, and Maureen Wojciechowski, with the titular character Ebenezer Scrooge played by Brad Mazick. Dressed in ghostly make-up and era-appropriate costumes that are plain in nature so that add-on costumes pieces or props can differentiate characters, the ensemble take turns telling the story of Scrooge while also partaking in the story itself. This is done in two interesting ways; either some actors narrate while others take part in a scene or an actor can both narrate a scene and perform in it. It was fascinating and vastly different from any interpretation I have seen before. It amps up the aspect of the ghosts in the story because it was like having omnipresent guides for the show; it's a production that makes the ghosts the main characters and Scrooge their second-player. What also adds to the ghost aspect is the occasional synchronization from the cast, whether it's clapping or walking in tandem, the cast seems ethereally connected. The entire cast even to share a style of acting; the ghosts, when narrating, are almost cartoony or over the top (in a good way). The performances are crisp, clean, and done with precision - a flawlessness that also adds to the otherworldly and ghostly aspect of the show. What's most impressive is the actors' abilities to change between the roles of narrator and character, as well as location; each ensemble member played various ages and emotions almost at the drop of a hat. Even though it is an ensemble piece, each actor is front and center and nobody is carried; everyone has strong performances and is obviously an asset to the success of the show.

Brad Mazick, who plays Scrooge, shines in his own way. In such a small space, when all eyes are on you because there is no other place to look, Mazick never falters in keeping up the intensity of his character, even when sitting on the sidelines. Mazick's interpretation of Scrooge is refreshing; he is subtle, natural, a type of understated grumpy and cranky, not the usual over the top Scrooge you usually find. Even in this wild adaptation, Mazick plays Scrooge as a believably annoyed old man, even comical at times (unheard of, in my opinion).

Geisel's adaptation is the best version of A Christmas Carol I've seen. It is quick, sweet, feel-good, an enthralling roller-coaster of emotions, but over-all, captivating. There are a few more showings left, so if you want a more avant-garde take on Christmas theatre, be sure to see this show.

Photo Credit: William Heimann

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