By Rikki Lee Travolta
All around the country, theatre companies are unveiling their holiday programming. At Metropolis Performing Arts Centre in Arlington Heights, IL, all attention is on a brand-new mounting of “A Christmas Carol” running through December 24, 2023.
Metropolis artistic director Brendan Ragan takes full advantage of this opportunity to introduce his directorial style for suburban Chicago audiences. The new head of the popular northwestern theater, Ragan exhibits the creativity to create something new and magical, and a tried-and-true understanding of the fundamentals of staging a hit show.
“A Christmas Carol” was written as a novella by Charles Dickens, first published in London in 1843. The story is one of transformation. Ebenezer Scrooge is a bitter, money-hungry old miser tolerated by some and detested by most. Over the course of one Christmas Eve, Scrooge is visited by a series of ghosts who open his eyes to the joys of giving, the beauty of love, and the spirit of Christmas.
The story has been adapted by many writers in many mediums. The first film adaptation was a six-and-a-half-minute short film directed by Walter R. Booth and produced by R.W. Paul in 1901. The most famous version of “A Christmas Carol” is probably the 1970 film starring Albert Finney as Scrooge, while some might argue the 1951 granddaddy version starring Alastair Sim, the 1999 Patrick Stewart version, or the 1992 Muppets version to be the best.
The Patrick Stewart film was inspired by his time portraying Scrooge on stage in a one-man version of “A Christmas Carol” on Broadway. “The Muppet Christmas Carol” features Michael Caine as Scrooge.
“A Christmas Carol” has been a regular on the Metropolis calendar for years. This year the company is using an adaptation by Jacqueline Goldfinger. It intertwines some of the original Charles Dickens text with original scenes and a host of well-known Christmas carols.
The Metropolis production marks director Ragan’s first foray with “A Christmas Carol”, although he cites the story as one of his traditional favorites, making this undertaking all the more special.
Ragan’s direction of “A Christmas Carol” at Metropolis is a bit like a Bedazzler. He carefully adds sparkly and shiny bobbles to the fabric of the entertainment package – some funny and some heartfelt. I, for one, look forward to seeing more directorial efforts from Ragan. I can only imagine the degree of brilliance Ragan will be capable of with a stronger script to work with.
The strongest directorial choice on display from Ragan is the addition of a new character. Winter, portrayed by Emma Grace Bailey, is a beautiful snowflake of a dancer. Dressed into ethereal white from head to toe, Bailey wordlessly guides the audience through the emotions of the play with music. Choreographer Kaity Paschetto gives Bailey all the structure she needs to capture the hearts of the audience. Paschetto’s staging of dances and movement for the other characters in the show is also exemplary.
Veteran performer Steve Connell has been playing Ebenezer Scrooge for decades and nobody does it better. In fact, in 2022 Life and Times named Connell as “Chicago’s Best Scrooge.”
With his angular face and sharp features, Connell looks the part of Scrooge as if it was written just for him to play. He is utterly convincing as a bitter old man who makes himself as unlovable as possible to his friends, family, and the world in general. When Scrooge undergoes his transformation and a love of life and giving is ignited in his soul, Connell is at his best. His cheery smile and internal glow make his evolution a delight.
Truly Bailey’s Winter and Connell’s Scrooge are the best parts of the show, however they are not the only reason to see the show. There are so many reasons to enjoy “A Christmas Carol” at Metropolis Performing Arts Centre including a exceptional cast and some very ingenious concepts from the creative staff.
The ghosts that visit Scrooge in hopes of inspiring him to change his greedy ways and save his soul include Peter Gertas as his deceased business partner Jacob Marley, Zoya Martin as the Ghost of Christmas Past, Josh Frink as the Ghost of Christmas Present, and Michael J. Santos as the Ghost of Christmas Future.
In particular, I have to give a huge round of applause to Gertas. His physicality of the role is utterly captivating. His posture and sway are that of an entity whose muscles and organs are actively rotting away.
One of the windows used by Dickens to open Scrooge’s eyes to the needs of the world is the plight of the Cratchit family. Bob Cratchit slaves in Scrooge’s office for the most minimum of wages, trying not to freeze as Scrooge refuses to invest in heating the space with more than a few lonely candles. At home, he and his wife do their best to stay positive as they struggle to feed their children. One of them, Tiny Tim, could leave the world early if nobody intervenes.
Bob Cratchit is played by Andrew Bosworth, who embraces the comic opportunities for his character, oftentimes inciting laughter from the audience with funny expressions. Lizzie Williams takes the dramatic approach with her Mrs. Cratchit – showing off the anxiety that goes along with raising a family in poverty.
In their journey through time and space to Christmases of times past, Scrooge and his otherworldly guide get to be a fly on the wall for the life-changing moments of Scrooge when he was just a young man, not yet forsaking love and not yet consumed by greed. This younger version of Scrooge (nicely played by Beck Damron) has love at his fingertips with Maura Fawley’s endearing Belle. However, he loses her when his attention turns from love to money. This is the start of his lifelong downward spiral as a person as bitterness begins to spread through him.
Also in the visit to days gone by, we see Ebenezer’s first job in business, working for Mr. Fezziwig. Tony Calzaretta bubbles with good cheer as the businessman who understands when to work and when to rejoice with family and friends. It is a lesson that Scrooge failed to take to heart as a young man, but one that Dickens intends for him to learn by the end of the story. Dreaa Kay Baudy’s Mrs. Fezziwig makes a fine match for Calzaretta’s patriarch of the family.
One truly standout performance in the Metropolis production is that of Gabriel Fries as Scrooge’s nephew Fred. He finds and conveys many levels and many facets to his personality in limited stage time. It is not a large part, but Fries makes it memorable and meaningful.
The remaining cast all turn in entertaining performances as well. The ensemble includes Olivia Zak, Mason Wang, Carter Rose Sherman, Amanda Donohoe, Spencer Schillinger, Ben Brown, Layla Joan, Natalie Lopez, Lucian Gutfraynd, Eli Vander Griend, Jonah Harder, and Holly Beemer.
Music director Ken McMullen works some true lyrical magic with the ensemble. He offers inventive arrangements of Christmas standards throughout the play.
I’ve seen a number of stage directors try to incorporate chorus members singing in the background while dialogue takes place at the front of the stage. While the idea has merit, trying to pull off the sound mix is very difficult. Director Ragan and sound designer Daniel Etti-Williams find the solution to this challenge when they have the singers hum the music. When that happens, brilliance ensues.
In dressing up the Goldfinger script, Ragan uses every tool at his disposal. Pattrick McGuire is a big part of that, providing some very inventive puppetry and special effects. The scenic design by Mara Ishihara Zinky, lighting design by Levi Wilkins, and costume design by Andrés Mota. add to the package as well.
Also lending their skills to this very well-cast, well-directed, and finely produced piece of holiday joy are props designer Theresa Neumayer, intimacy director Christa Retka, stage manager Lili Bjorklund, hair and makeup designer Alice Salazar, dramaturg Linda Scheufler, dialect coach Erin O’Connor, casting director Robin Hughes, assistant stage manager Bridget Kearbey, and assistant hair and makeup designer Miguel Ramos.
If the thunderous applause and cheering fans in the audience on opening night are any indication, it looks like Metropolis has a bonafide holiday hit on its hands. Don’t be left out in the cold. If you are in the mood for some seasonal theatre, make the dancing beauty of Winter on display in “A Christmas Carol” at Metropolis part of your plans.
The production runs through December 24 with performances on Thursdays through Sundays. There is an American Sign Language performance on December 7. There are student matinees on December 7, 14, 15, 21, and 22.
For tickets call the box office at (847) 577-2121 or visit www.MetropolisArts.com. For information on enhanced and accessible performances visit www.MetroplisArts.com/accessibility/.
Photo credit Jennifer Heim of Jennifer Heim Photography
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