New Haven Symphony, Quick Center Unite for Holiday Extravaganza

Maureen O'Flynn. Photo:
Courtesy of Fairfield University

Celebrate the season with holiday pop favorites when the New Haven Symphony Orchestra partners with the Regina A. Quick Center for the Arts for a “Holiday Extravaganza!” concert 8 pm Friday, Dec. 14 .

Guest conductor Matthew Savery leads the NHSO Pops and soprano Maureen O’Flynn through a seasonal celebration brimming with holiday classics, yuletide cheer, and a festive audience sing-a-long. 

The program includes such timeless classics as “It’s the Most Wonderful Time of the Year,” “Carol of the Bells,” “March of the Toys” from “Babes in Toyland,” “We Need a Little Christmas,” from “Mame,” “Rudolph the Red-Nosed Reindeer,” and “O Holy Night.”

Savery is in his nineteenth season as Music Director of the Bozeman Symphony Orchestra and Symphonic Choir in Bozeman, Montana, and fifth season as Music Director of the Wyoming Symphony Orchestra.

O'Flynn was awarded the Richard Tucker Foundation Grant and the Opera Index First Prize. Included in her many accolades is star recognition for her role as Gilda in “Rigoletto,” which she has performed at the Metropolitan Opera with Plácido Domingo, in Italy and Israel, and with Houston Grand Opera. She debuted with Dallas Opera, winning their Callas Award as “Outstanding New Artist of the Year.”

Tickets: $40, $35: (203) 254-4010,  1-877-278-7396; www.quickcenter.com.  The Regina A. Quick Center for the Arts is located on the campus of Fairfield University at 1073 North Benson Road in Fairfield. Enter through the Barlow Road gate at 200 Barlow Road. Free, secure parking is available.

Theater Review: The Killing of Sister George -- Long Wharf

Clea Alsip and Kathleen Turner. Photo: T. Charles Erickson

Never Mind Killing of Sister George -- Let’s Put This Play Out of Its Misery
By Lauren Yarger
Someone should just put this play out of its misery. Even having multi-talented Kathleen Turner as its star and director can’t save The Killing of Sister George which is breaking in the new seats at Long Wharf’s mainstage theater.

About 20 minutes into this early 1960s play by Frank Marcus (adapted here by Jeffrey Hatcher) about a British radio soap opera star who fears her character is going to be killed off, we’re wondering what the heck this mess of lesbianism, domination/submission and really bad accents is really all about. At the end of Act One, a lack of any real plot and a bunch of unlikable characters result in our no longer caring.

When the play debuted on Broadway in 1964 following a run on London’s West End, it was nominated for the Tony and snagged the best actress award for Beryl Reid. In fact, it was so successful, a movie version of it followed in 1968 containing racy material not included in the play (earning the film an X rating). Let’s just say that I read all of that information in the press notes with disbelief (concluding that 1964 must have been a drought year for plays on Broadway), along with a reference to Turner’s viewing the piece as comedy. It seems totally devoid of humor except for a few lines. 

Perhaps lesbians and S&M were more shocking back in 1964, but in this modern age, particularly when “50 Shades of Grey” is a best seller, a play needs something more than shock value from a half century ago to make it interesting. According to director’s notes in the program, Turner agreed and engaged Hatcher to adapt the script for a modern audience with emphasis on the emotional, rather than sexual relationship between the characters. Unfortunately, it still doesn’t work. Judge for yourself:

June Buckridge (Turner) is the star of “Applehurst,” a popular radio drama (audio snippets of which are heard thanks to sound design by John Gromada). She plays a motorcycle-driving, hymn-singing nurse named Sister George, but when the script suddenly calls for her to catch a cold, the actress discerns that this means the writers are going to kill off her character.

She confides her fears to her doll-collecting, child-like flat mate, Alice McNaught (Clea Aslip), a.k.a. Childie (though many of us audience members never clearly understood what her nickname was or other parts of the dialogue since Turner’s diction isn’t always sharp and Aslip is murdering a Scottish accent, apparently unaided by dialogue coach Deborah Hecht). Soon it becomes apparent that the two are more than just flat mates and that June enjoys humiliating and dominating the hapless girl.

Then BBC legend Mercy Croft (Betsy Aidem) stops by the flat (tackily decorated by designer Allen Moyer to match the frumpy clothes in which Jane Greenwood dresses Turner) to investigate an incident in which June supposedly assaulted two nuns in a taxi and sets terms for how the actress can make things right, pacify the mother superior and keep the story from ruining the show’s ratings. 

Meanwhile, June wants to know what the future holds, so she asks her neighbor, Madame Xenia (Olga Merediz), who happens to be a clairvoyant, to visit. The vision is unsettling and soon June is plotting to keep her character alive while Childie enters into an alliance with Mercy that’s as much to save herself as her roommate’s job. Let’s just say that the curse-singing (Gromada composes), tarot-card-reading fortune teller seems to be the sanest person in the room.

Besides the really uninteresting plot (with a far-from-surprising conclusion), this play is in need of editing, even after the extensive rewrite it apparently received at the hand of Hatcher in his adaptation. In one scene, for instance, June is up at 4 am, unable to sleep because of her anxiety. Madame Xenia drops by with the script pages holding Sister George’s fate – at 4 am? And how convoluted that she would have had to sign for them to give her an excuse to bring them? Then Alice conveniently returns to the apartment to retrieve a forgotten bag just when Xenia leaves so that June can tell her what she has discovered. Really? At 4 am? And she just happened to leave her bag? Playwriting 101 red pen, please….

Turner’s talent can hardly be overshadowed by a bad role and it's always a treat to see live on stage here in Connecticut. She just is worthy of a better play.

The Killing of Sister George runs through Dec. 23; Tuesday at 7 pm; Wednesday and Sunday at 2 and 7 pm; Thursday and Friday at 8pm; Saturday at 3 and 8 pm. Tickets $40-70:www.longwharf.org; 203-787-4282.

Three Days of New Works on Tap at Goodspeed Fest

A moment from last year's festival. Photo: Diane Sobolewski

The Eighth Annual Goodspeed Festival of New Artists, produced by Goodspeed Musicals’ Max Showalter Center for Education in Musical Theatre, kicks off its three-day festival of brand new works Friday, Jan.18, at the Goodspeed Opera House with a staged reading of Nine Wives.

On Saturday, Jan. 19, the musical Come From Away debuts and on the final day of the festival, the unconventional tale Princesses: A New Rock Musical will be presented.

Several special events will round out this exciting weekend. Tickets and Festival Packages are available at the Goodspeed Box Office or by calling 860-873-8668. Tickets are $15 each for one show, $10 each for students and can be purchased online at www.goodspeed.org as well as through our Box Office. Special package deals are available.

THE SCHEDULE:
Jan. 18

Nine Wives 7:30 pm Goodspeed Opera House
Music & Lyrics by Douglas J. Cohen;  Book & Lyrics by Dan Elish;  Based on the novel, “Nine Wives” by Dan Elish

Nine Wives tells the story of Henry Mann, a 32-year-old bachelor who discovers that the love of his life has met someone new and is about to get married. What’s worse, he’s been invited to her wedding! What follows are Henry’s frantic attempts to find a woman he can take as his date – a potential future wife – to prove to his ex- fiancée (and the world) that he too is ready to move on.

Festival Cabaret
10 pm Gelston House Showcasing new songs by new artists.

Jan. 19

Festival Seminars 10 am to 12:45 pm Gelston House

New Musical Preview  2:30 to 3:30 pm Goodspeed Opera House; A preview of a new musical headed to Goodspeed’s Norma Terris Theatre in 2013

Noël Coward Symposium 4 pm Goodspeed Opera House. This event is free and open to the public.
Festival Dinner 5:30 pm Gelston House

Come From Away 7:30 p.m., Goodspeed Opera House
Book, Music and Lyrics by David Hein and Irene Sankoff 

Come From Away is a rocking musical about when 38 planes from around the world were diverted to a small, Canadian community on September 11th, 2001 - doubling its population in an instant. While the world witnessed the worst acts of humankind, the stranded passengers had their faith in humanity restored by the spirited people who comforted those who had come from away.

Festival Cabaret 10 pm Gelston House

Jan. 20

Princesses: A New Rock Musical
1pm Goodspeed Opera House
Book by Janece Shaffer, Emma Lively and Tyler Beattie
Music and Lyrics by Emma Lively and Tyler Beattie

Four outrageous princesses escape the confines of their castle walls and shock the fairy tale world with their unconventional ways. Princesses is inspired by the Brothers Grimm’s “The Twelve Dancing Princesses” and features a contemporary rock score. 

Meet the Writers Reception 3:30 pm Gelston House. Gain insight into the inspirations and processes of the writers. Complimentary hors d’oeuvres and cash bar.

Lodging and dining information for Festival attendees as well as up-to-date information on the weekend’s events may be found at www.goodspeed.org.

National Theatre of the Deaf Brings a Child's Christmas in Wales to Ivoryton

Joey Caverly. Photo: Anne Hudson

The National Theatre of the Deaf takes a nostalgic journey back into time through the eyes of poet Dylan Thomas with an adaptation of “A Child’s Christmas in Wales,” performed in both the beauty of American Sign Language and spoken word at Ivoryton Playhouse.

Holidays are filled with our childhood memories; family gatherings, games with friends, the excitement, the anticipation and the special quiet moments.  Thomas captures the magic of the season in this beautiful story filled with crazy aunts and uncles, snowball fights and sibling rivalries and one very special gift that changed his life.

The evening will also include stories and songs of the season, games and a whole lot of family fun. Directed by Brian Jennings and conceived by Betty Beekman, the cast includes Christina Stevens, Joey Caverly, Christina Cogswell and Taylor Curtis as well as a chorus of local singers. Production designed by Marcus Abbott.

A Child’s Christmas in Wales opens tonight and runs thru Dec. 16. Performance times are Saturday and Sunday matinees at 2 pm; Thursday, Friday and Saturday at 7:30 pm. Tickets are $30 for adults, $28 for seniors, $20 for students and $15 for children and are available by calling the Playhouse box office at 860-767-7318 or by visiting our website at www.ivorytonplayhouse.org (Group rates are available by calling the box office for information.) The Playhouse is located at 103 Main Street in Ivoryton.

Dave Brubeck Concert Goes on as Scheduled Tonight in Waterbury

Dave Brubeck. Courtesy of the Palace Theater.

The Waterbury Palace Theater’s Thursday night all-star concert in honor of jazz pioneer Dave Brubeck’s 92nd birthday is now being held as musical “thank you” to the legend for the incredible body of work he brought to the masses over the past six decades. 

Brubeck, 91, died of heart failure on Wednesday morning after he fell ill on his way to a regular medical exam at Norwalk Hospital, in Norwalk, Conn., a day short of his 92nd birthday, said Russell Gloyd, his producer, conductor and manager for 36 years. Brubeck lived in Wilton.

Originally titled “Dave Brubeck’s 92nd Birthday Bash,” the non-profit organization Jazz’d 4 Life’s December 6 concert at the Palace Theater is now being called “Thank You, Dave Brubeck” in honor of the pianist’s ground-breaking contributions to the Jazz community, as well as the Jazz’d 4 Life charity, which was founded by Brubeck’s daughter Catherine in 2007. 

The concert will feature performances by Billy Joel saxophonist Richie Cannata, former New York Yankee and special guest guitarist Bernie Williams, as well as musicians Jullio Fernandez, Eren Cannata, Joel Rosenblatt, Gene Perez, Chris Clark, Brad Mason, Fred Wallcott, Nicole Zuraitis, Gina Sicilia, Louise Baranger, Rachel Z, Omar Hakim, Ali Ryerson, Darius Brubeck, James Montgomery, Rich Lataille, Mark Earley, and Chris Brubeck, among others.

Tickets for Thursday night’s 7:30pm concert at the Palace start at $40.50 and can be purchased online at www.palacetheaterct.org, by phone at 203-346-2000, or in person at the Box Office, 100 East Main St., Waterbury.

Gob Squad Plans No Boundaries Super Night Shot

No Boundaries: A Series of Global Performances presented by Yale Repertory Theatre launches its sixth season with Super Night Shot by Gob Squad at two performances Feb. 1 and 2 at 8 pm at the University Theatre, 222 York St.

 No Boundaries celebrates the diversity of voices and experiences in today’s world.
About Super Night Shot:
Exactly one hour before the audience arrives, Super Night Shot begins. Four performers take to New Haven’s streets armed with video cameras and embark on a set of comic and fantastical adventures that celebrate unexpected encounters with strangers. Once the 60 minutes are up, they return to the theatre, to a rousing hero’s welcome, and the footage is mixed live into a film. Anything can happen—and usually does.

Running time: approximately 60 minutes. Talk Back Q&A session with members of the company will follow each performance.

About Gob Squad:
Gob Squad is an internationally acclaimed arts collective from the UK and Germany. Since 1994, the company’s seven members have been devising, directing, and performing pieces around the globe. In their work, they search for new ways to combine media and performance—producing stage shows, video installations, radio plays, interactive live films, and urban interventions that find beauty amidst the mundane. Over 200 unique productions ofSuper Night Shot have been created since it premiered in 2003.

Tickets: $25 ($10 for students and $20 for Yale Faculty and Staff) www.yalerep.org/noboundaries; 203-432-1234, Box Office,1120 Chapel St., New Haven.

Hartford Stage Will Pick Up Children's Programming Where Hartford Children's Theatre Leaves Off

Timothy Perry as Charlie Bucket in HCT's productions of Willy Wonka. Photot: Thomas Giroir

Hartford Children's Theatre (HCT) announced today they will close and end all programming, including their children's theatre educational programs, at the end of December 2012. Hartford Stage simultaneously announced that it will expand its children's theatre drama education and outreach programs starting in January 2013.

Hartford Stage and HCT have been working for months to ensure that the Hartford area continues to have the highest quality drama education and in-school classes for children ranging in age from 5 to 18. Although the Children's Theatre has run very successful education programs over its 22-year history, the institution, like many area non-profits, has struggled to raise the funding necessary to maintain its high level of educational programs and performances.

Facing the reality of closing its doors for good, the HCT Board of Directors looked for options to ensure their constituents will continue to receive the highest level of drama education. The HCT Board reached out to Hartford Stage as a financially stronger theatre that had its own excellent education programs. In response, Hartford Stage has decided to expand its own educational offerings in order to fill the gap created by the closing of the Hartford Children's Theatre.

"Hartford Stage and Hartford Children's Theatre both strongly believe in the importance of drama education for the children and families of Hartford," said Robin Zaleski, HCT's Board President. "This is a wonderful opportunity for our current and future students and the best possible outcome for the educational programs HCT is known for."

Hartford Stage's Managing Director Mike Stotts said, "The Board of Directors and management of Hartford Stage believe that the loss of HCT's children's educational programming would deal a severe blow to the youth of our community - we want to make sure that does not happen."

Offering the children's theatre program as part of the 49-year-old, Tony Award-winning theatre's education department, strengthens Hartford Stage's position as the leading provider of theatre programming for children and youth in Connecticut. The newly-expanded program will become part of the already-existing Studio Series and will be known as the Children's Theatre of Hartford Stage. Hartford Stage will also continue to offer its Studio Classes for adults.

Hartford Stage currently serves more than 21,000 students through its education program, more than any other theatre in Connecticut. The expanded children's theatre programs will bring another 7,000 into the fold. Both organizations share the belief that education in the arts is rooted in collaboration, creativity and communication, and in these financially difficult times, many public schools lack adequate funding for arts education. 

Jennifer Roberts, Director of Education at Hartford Stage, said Hartford Stage aims to provide students of all ages statewide with innovative, quality theatrical opportunities and education programs that use theatre techniques to build community and citizenship, to promote a passion for literacy and creative expression, and to encourage lifelong learning. 

She said, "This new expansion will strengthen Hartford Stage's education programs by growing our capacity to offer theatre classes for children. It builds on what we're already doing, but allows us to serve more families throughout Greater Hartford using HCT's unique style of classes."

Two employees from HCT will be hired by Hartford Stage: Lisa Foss, current Director of Education at HCT, will become Children's Theatre Implementation Manager at Hartford Stage; Emely Larson, current Program Manager at HCT, will become Training Programs Manager at Hartford Stage. Foss and Larson will join a strong department of seven highly trained teaching artists and arts education administrators. "We are delighted to welcome Lisa and Emely to the Hartford Stage team, where they can build on the terrific work they have done for HCT over the past several years," said Stotts.

"Hartford has seen the demise of several non-profit arts organizations over the last decade. A combination of market forces and economic uncertainty caused the shuttering of the Hartford-area ballet and opera," said Stotts. "Our plan to offer new children's programs modeled on the impactful and respected programs of the Hartford Children's Theatre ensures that the spirit of HCT will live on into the future."

Artistic Director Darko Tresnjak said, "Anything that improves the artistic and the educational growth of the children and the families of Connecticut matters. I am glad that Hartford Stage and, more specifically, our education department will be able to provide quality arts and theater education to more of the children in our community."

The Hartford Children's Theatre's Main Stage series, which included Annie, Pinkalicious, Little Women and How I Became A Pirate this season, will end with the closing of HCT.

Support for the start-up of the Children's Theatre of Hartford Stage has been provided by the Greater Hartford Arts Council and Travelers. 

WINTER CLASSES - CHILDREN'S THEATRE OF HARTFORD STAGE

The Winter Drama Program of the Children's Theatre of Hartford Stage will begin January 19 on Saturdays and Tuesday evenings. Classes will be at Classical Magnet High School in the Asylum Hill neighborhood, located at 95 Woodland Street in Hartford. Information about specific classes is on the Hartford Stage website, hartfordstage.org. To register call Chelsea Caplan, Education Sales Coordinator, for Hartford Stage at 860-520-7244 or ccaplan@hartfordstage.org. 

Information about Hartford Stage Education Programs can be obtained at the Hartford Stage Education Hotline, 860-520-7206.

Quick HIt Theater Review: Miracle of 34th Street

Photo: Paul Roth

Miracle on 34^th Street
Book, Music and Lyrics by Meredith Willson

Based on the 20^th Century Fox film

Story by Valentine Davies; Screenplay by George Seaton

Director: Semina De Laurentis

What’s it about?

What, you haven’t seen the holiday classic film starring a very young Natalie Wood a couple thousand times? If not, it’s a about Doris (Cassie Taylor), who hires an authentic looking Santa for the Macy’s Thanksgiving parade and to listen to what the kids waiting in line to see St. Nick at the department store want for Christmas. Disillusioned after a divorce, Doris won’t let her daughter, Susan (Kaitlyn Mueller) believe in Santa, or anything that she can’t see, hear or touch. Fred (Billy Hannon, Jr.), a handsome new lawyer in town, befriends Susan, who dreams about visiting Santa at his toy shop (twin sister Kristianna Mueller dances the role of Susan). Fred dreams about winning Doris’ heart.  

Kris starts generating some holiday cheer of his own when he declares the wishes of kids are more important than making a buck a Christmas and starts sending customers over to Gimbels, or other stores, where they can find what their kids want if Macy’s doesn’t have it. At first, store owner Macy (Jonathan Ross; Matthew Berry Dec. 28 and 29) is upset, but eventually congratulates Doris and her assistant, Marvin Shellhammer (James Donohue), on a sensational marketing scheme that is generating lots of happy customers for Macy’s.  

Kris’ sanity comes into question, however, when he insists that he really is the one and only Santa Claus. Fred defends Kris in a trial presided over by Judge Henry Harper (Chuck DellaRocco) as District Attorney Thomas Mara (Tom Chute  through Dec. 9, then Joe Stofko) tries to have the old man committed. Will Doris and Susan find they can believe in Santa after all?

What are the highlights?

 

The parade seen is terrifically stages with marching bands, entertaining acts and the famous Macy’s balloons all depicted while Music Director Richard DeRosa and his five-man band play a score by Meredith “Music Man” Wilson that includes “It’s Beginning to Look a Lot Like Christmas.” Alexander Butler as Mara’s grandson is adorable as is Grace Rundhaug, who believes in Santa when Kris is able to speak to her in her native Dutch. The real Macy’s over at the Brass Mill Mall also got involved in the production, decorating the theater lobby and providing discount cards in the program.

What are the lowlights?

This is Equity theater Seven Angel’s annual “professional-community collaborative.” The production leans heavily toward the community, rather than professional (lots of flats), but the collaborative gets local performers on stage -- and there are a lot of them in the sizable ensemble -- so that’s a highlight. DeLaurentis might work some to tone down Susan’s over-the-top efforts to be cute. Sound mix, especially on group numbers, needs some tweaking. The musicians, housed on the floor house right of the stage, can be heard talking in between their numbers (and get some black wrap on the glaring light which is distracting to the audience over there). 

More information:

Through Dec. 30 Friday at 8 pm; Thursday and Saturday at 2 and 8 pm; Sunday at 2 pm
203-757-4676; http://sevenangelstheatre.org/

Special dates:
Dec 6 Beer & Pizza Night
Dec 7 Half Price Drink Night
Dec 8 Mimosa Matinee
Dec 14 Sweet Maria’s Night
Dec 15 Fascia’s Chocolate Night
Dec 21 Wine and Martini Night
Dec 23 Sundaes On Sunday

Theater Review: Romeo & Juliet -- CT Rep

Mercutio (Andrea Pane, left), Romeo (Will Haden, center) and Benvolio (Ryan Marcone). Photo: Bob Copley

 

A Timeless Tale of Star Crossed Lovers, but With Some Unexpected Twists
By Lauren Yarger
Connecticut Repertory Theatre’s production of Romeo & Juliet had me wondering whether my memory had slipped until I (thankfully) read the helpful program notes by Dramaturg Levi Alpert explaining that this is a slightly different version of Shakespeare’s classic tale of the star-crossed lovers. 

Much of the dialogue is the same, but with enough sudden variations “that which we call a rose by any other word would smell as sweet”) to make a die-hard R&J fan like myself question her sanity, so the dramaturg notes were much appreciated. It seems this version of the story “dates back to 1476 from a novella by … Masuccio Salernitano.” OK, so I wasn’t crazy to think some new dialogue had been added or that other lines were missing. Add to that Director Vincent J. Cardinal’s decision to incorporate some modern touches like an I-Pod amidst the neo-Renaissance sets and costumes (Matt Iacozza; Angela Armijo and Fan Zhang, designers) and a less-stable critic might have headed right to the nearest bar. 

But thanks to dramaturg Albert and a guess that Cardinal is trying to make a case that the tale is timeless and relevant in any time period, I can take a deep breath, cancel the doctor’s appointment, relax and offer observations.

What stands out about this production is the really terrific fight choreography by Greg Webster. Steel clashes and extended sword battles rage in some of the most thrilling, realistic looking onstage battles you’ll ever see. One battle breathtakingly stops, only to resume after intermission. 

The few Equity members of the ensemble lend their expertise to their characters. Anthony J. Goes , a second –year graduate actor at UConn, lands a solid Lord Capulet who feuds with the Montagues orders Juliet (Hannah Kaplan) to marry her cousin, Tybalt (Thomas Brazzle), unaware that she already has wed Romeo (Will Hayden), son of his enemy, Lord Montague (Adam Schneemann). 

Off-Broadway actress Nora Chester gives Juliet’s nurse a different take. She still provides some comic relief, but is more serious, less of a fellow conspirator with her charge than usual. UConn alum Richard Ruiz (Sancho in last season’s Man of LaMancha) returns to anchor the production with his take on Friar Lawrence, the well intentioned holy man who weds the young lovers in the hope that their union will end the hatred between their families. When all hope of peace is lost after Romeo kills Juliet’s kinsman, Tybalt (Thomas Brazzle), and is banished by Prince Escalus (Dariusz Burkowski), Friar Lawrence hatches what turns out to be a not-so-death-defying scheme to keep the lovers together.  

Ruiz’ and his Equity cast mates’ ability to deliver the Shakespeare lines naturally is welcome. Across the board the other actors sound as though they are doing a difficult reading from a book. 

Cardinal also deserves kudos for his sharp staging of the famous, but usually difficult to pull off, balcony scene. With a terrace that moves to jut out over the thrust stage, he creates distance and depth (aided by lighting designer Billy Albertelli) to create darkness and shadows. Cardinal moves Romeo from positions in the house to underneath and around the balcony making it plausible that he could see and hear Juliet without being seen or heard himself. The technique also unites the audience with the character. 

For a sneak peek, view a video here: http://youtu.be/AVgrtg18Lzs?hd=1.

Romeo & Juliet plays through Dec. 9 in the Nafe Katter Theatre,820 Bolton Rd., Storrs Campus, UConn. For tickets and information call 860-486-2113 and visit www.crt.uconn.edu.

Showtimes: Through Dec. 9; Weeknight evening performances start at 7:30; Weekend evening performances start at 8. Matinee performances start at 2 pm. Tickets $6- $30: (860) 486-2113; www.crt.uconn.edu.

Theater Review: A Christmas Carol -- Hartford Stage

In Hartford Stage's A Christmas Carol, The Emphasis is on the Ghosts
By Lauren Yarger
Right from the start, Michael Wilson’s adaptation of Charles Dicken’s A Christmas Carol makes it clear that its subtitle, “A Ghost of a Christmas Story,” should be taken seriously. Not only do the four ghosts we expect pay visits, but others dance, fly, float and slither across the stage in a satisfying presentation now in its 15th season at Hartford Stage.

Bill Raymond, who currently can be seen in movie theaters as the Speaker of the house in Steven Spielberg's “Lincoln,” returns for his 13th season as Ebenezer Scrooge (Gustave Johnson plays the role for student matinee performances.) His Scrooge is a little more upbeat and likable than most and Wilson adds touches of humor that keep the tale of the cold-hearted miser who long ago forgot the spirit of Christmas from being too somber.

Director Maxwell Williams helms the tale of how the spirits of Christmas Past, Present and Future help Scrooge change his heart.

Scrooge, in his usual foul mood, grumbles about having to give his clerk a day off, scoffs at making donations to charities to help the poor and demand payment of debts from the marketplace vendors who owe him money.

But Scrooge is in for a Christmas Eve he’ll never forget. When he arrives home that night, dead business partner Jacob Marley (Noble Shropshire) rises up through the floorboards of his bed chamber, fettered and moaning in torment. He begs Scrooge to change his ways and to avoid making the same mistake he did by putting a love of wealth before love of his fellow man. He warns of more ghostly visits to come.

The Spirit of Christmas Past (Johanna Morrison) arrives on a beautiful sleigh with fresh fallen snow and transports Scrooge back in time. He remembers the love of his little sister, Fan (Abi Connor and Abigail McMillan), the joy of working for generous boss, Mr. Fezziwig (Alan Rust) and his engagement to beautiful Belle (Gillian Williams), whom he once loved more than money.

Lessons are learned from the present as well, as a Santa type spirit (Rust) arrives amidst the glitter of the season and shows Scrooge how his poor clerk, Bob Cratchit (Robert Hannon Davis), keeps good cheer despite laboring away for almost no wages while his son, Tiny Tim (Ethan Pancoast and Fred Thornley IV), a cripple, amazingly leads his family in a toast to the old miser’s health. Nearby, Scrooge’s nephew, Fred (Curtis Billings) and his family and friends enjoy festive holiday games while pitying Scrooge, who every year declines their invitation to join the fun.

The Future looks grim. Scrooge’s housekeeper, Mrs. Dilbert (Stropshire, playing the female role for no apparent reason), sells the penny pincher’s bedclothes for a profit before the undertaker comes to collect Scrooge’s corpse and no one seems to care enough about him to come to a funeral. Even worse, if the shadows of things to come aren’t changed, Tiny Tim could die.

Don’t worry. There’s a happy ending and this production is a fun holiday tradition for many families in the Hartford area.

Lots of little ones were giggling merrily at the matinee I attended (the theater suggests the show is best for youngsters 9 and up. I agree. Some younger ones were talking and asking questions all the way through) and many local children are cast in various roles under the direction of Youth Director Christina Pellegrini. They include Tiana N. Bailey, Tailanae Brantley, Lauren Cassot, Abi Conner, Meg Conner, Jacrhys Dalton, Rachael Dalton, Tyra Harris, Andrew Holland, Daniel Kemple, Daniel Madigan, Marisa McKee, Emily McLean, Abigail McMillian, Adian McMillan, Dermot McMillan, Eric Stephen Murphy, Benjamin Olsen, Eliza Polukhin, Ankit Roy, Aleksei Sandals, Brandon Szep, John Henry Wenz, and Tilden Wilder.

The show runs through Dec. 29. Run time is an hour and 45 minutes including an intermission. Performance schedule varies: Tickets $28.59-$83.50; $28.50-$68.50 for students: (860) 527-5151; www.hartfordstage.org.

Special events:

-- Local vendors will showcase unique gift items in the lobby before the show, during intermission and after the show on Dec. 9. Free to the public. Doors open at 12:30 p.m.

-- Behind the Magic: The Hartford Stage production staff hosts a behind-the-scenes look at the special effects that make ghosts soar and snow fall. This takes place Dec. 16 at 4 pm. Cost $5 per person.

-- Family Fun Night: The ghosts will greet and entertain. After the show, get autographs from all your favorite characters. Free with show ticket. Dec. 20 at 6:45 pm.

-- Christmas Carol Experience package. Enjoy unlimited hot cocoa, fill up a bag at the Candy Bar before the show, and decorate a cookie at intermission. Dec. 8, 9, 15, 16, 22, and 23, before the show at 1:30 pm. Cost: $10 per person. (Tickets to show sold separately.