Aglow with sprightly carols and melodramatic musical effects, Santa Cruz Shakespeare’s new and utterly delightful A Christmas Carol has already enchanted half the town.
Small wonder, with its vivacious cast of five adults—playing dozens of characters—and two youngsters, Christmas Carol is a timeless tale. And from the tireless imagination of arch story teller Charles Dickens, to the astute adaptation by SCS Artistic Director Charles Pasternak (something in the name Charles?), comes a tale of tight-fisted greed in the person of Ebenezer Scrooge transformed into a better man thanks to the eye-opening visitations of a trio of spirits.
Full disclosure: I went through at least three tissues in an effort to maintain my composure during this shamelessly uplifting tale of a life redeemed on the eve of Christmas. Perhaps it was the suite of traditional Yuletide carols sung in close harmony by the company. Or maybe it was simply that Dickens’ story is, sentimentally speaking, perfection.
Whatever the reason, I was touched to the core and I wasn’t alone.
The casting was also perfection. I expected nothing less from the amazing Julie James, playing at least half a dozen characters with word-perfect delivery, energy and bravado. Julie’s ability to morph into myriad characters without missing a beat is the stuff of legend. Also, I looked forward to the sensitive and energetic performance by Charlotte Munson, equally nimble portraying many genders and ages, from Scrooge’s nephew to a Cratchit family child.
Amplifying the dazzle in this production were SCS newcomers Robert Zelaya as Bob Cratchit, among others, and a feisty Andrea Sweeney Blanco as Mrs. Cratchit and the shimmering Ghost of Christmas Past. These two players added their singing, dancing and nimble acting skills to the high-spirited capers inspired by Pasternak’s direction. Incomparable casting helped infuse the well-known story with new relevance and joy.
But it was Mike Ryan, crafting the transformation of Ebenezer Scrooge from grim tightwad to a generous Santa, that generated the most resounding moments of surprise and delight. Not to mention stagecraft. As many performances of his as I’ve seen, I’m still amazed by Ryan’s evolving power as an actor. Scrooge’s enchantment by his younger self, his pain overhearing his former sweetheart denounce the greed and wealth that have replaced her in his heart. Scrooge’s emotional isolation was most poignantly revealed in the scenes where he is shown the humble pleasures of the Cratchit family. Without wealth, they are rich in happiness and love. Again, praise to Pasternak the director, who not only created the stage adaptation of the story but sculpted miniature yet eloquent scenes to illuminate the age-old themes.
Ryan seemed as entranced by these poignant memories as if they were his own. And of course that’s the job of a fine actor, to disappear into the character and in the process create fresh embodiment of the author’s insights. A spellbinding bit of stage magic.
And by the time Scrooge is shown his own future death—unmourned, unacknowledged—his transformation is complete. “I am not the man I was,” he cries out, asking for a second chance. Fabulous physical acting, graceful, bold, and all of it underscored by the spectacular costuming of B. Modern. The tassled nightcap and brocade dressing gown of Scrooge, the lovely little Jane Austenesque gowns of the party scenes, and the sparkling finery of the spirits showing Scrooge the realities of his life.
Pasternak unleashed some inner genius in setting the action throughout the aisles, stairs and stage of Vets Hall, whose intimate interior brought the audience into a close community, gathered to hear this sweet, harrowing and joyful tale. The production opens with the players carrying candles and singing; it ends with a full-throated invitation to “Come, all ye faithful!” A seamless job of lighting (Stephen Migdal) and music (Luke Shepherd) gave the actors a gorgeous fictional world in which to work. As Belinda Cratchit, Sigrid Breidenthal looked fetching. And young Lincoln Best was the perfect Tiny Tim.
The players took turns narrating the scenes, introducing what was to come, and each episode of Scrooge’s spiritual journey was reinforced by a traditional English carol, beautifully sung in close harmony by the quintet of actors. I reached for my Kleenex with each sweet, familiar Yuletide song. The magic of the season is matched by the magic of live theater in what, if Charles Pasternak gets his wish, will become a holiday tradition in this lucky town.
A Christmas Carol, Vets Hall, 846 Front St., downtown Santa Cruz. Through Dec. 24. The show runs almost 90 minutes with no intermission. Tickets at santacruzshakespeare.org.
