This one word is a direct order from the cast of this new adaptation of Charles Dickens’ classic holiday tale A Christmas Carol from author Jack Cantey. The seven-member cast, who begin by introducing themselves with their real name and their various parts (I’ll get to that), request that the audience imagine the scenery, the setting, and the situation.
Of course, it is highly likely that anyone reading this is also familiar with the Dickens story that tackles greed and benevolence as the life of Ebenezer Scrooge is examined through the past, present, and future. Thus, it becomes a challenge for any adaptation to stand out unless it has with it some clever artistic liberties.
It was Dickens’ language that thrilled Cantey as he prepared this script, although he notes that the actors were without an “established, unchanging text” prior to this premiere run. The inventiveness of this new adaptation calls for less attention to elaborate stage design and costume changes and much more focus toward pinpointing the essence and key phrasings from Dickens’ original tale. It should be noted that Sophia Young’s set is exquisitely designed for Cantey’s vision. The stage suggests a frosty winterscape along with a projected yellow image at the top-center that will play its own small role throughout the performance.
With a small cast of seven, some familiar characters from the original version and/or popular adaptations are dropped. This stripped-down script still includes the chief characters (Scrooge, Fred, Tiny Tim, and the Ghosts just to name a few) in order to create the required dynamics of the heartwarming tale. Through the use of scene-introducing voiceovers coupled with the occasional inclusion of a live narrator, Cantey’s adaptation contains a limited amount of lengthy monologues.
The seven-member cast is chock full of locally grown talent. Because various scenes from Scrooge’s life are presented, each of the four male members of the cast play a version of the infamous penny-pincher. Simultaneously, each of the three female cast members successfully complement these scenes through strong renditions of multiple significant characters.
FPT veteran Scott McMeen, while playing the eldest Scrooge, captures the essence of the burdened man in the counting-house and convincingly exhibits the likeable man who redeems himself with his remaining family. Rachel Dostal’s dynamic Ghost of Christmas Past and loveable Tiny Tim characters serve as the adhesive to this compacted adaptation.
Billy Hofman takes on a younger Scrooge, Old Joe, and Fezziwig, who again serves as crowd favorite. Kyle Nelson, who recently performed in An American Lynching: The Emmet Till Story in Indianapolis, excels as Bob Cratchit throughout the play, but his six other roles are not to be dismissed. Kendallville native Allison Brandgard serves as the Movement Director as well as six total characters–most notably as Belle and the Ghost of Christmas Yet to Come. The overall choreography of this performance led by Ms. Brandgard is among its best features. Ashley Shewman shows off her advanced acting chops with performances as Fred Scrooge and Belle, but her strongest presence is as Mrs. Cratchit. Lastly, Fort Wayne’s own Dalen West does an extraordinary job in his laundry list of roles, including a very humorous man-child who is summoned to purchase some poultry. As The Reader throughout the play, West further provides textual notes that serve audience members young and old.
Christina Connelly, the Assistant Director, also reads the voiceovers. These short lines occur at the beginning of each scene and work quite well as a short preview to the forthcoming action. Jeanette Walsh’s costumes are predominantly simplistic blacks and whites, which evoke a subtle nod to common oppositions found in all art: life vs. death and good vs. evil. The technical director is Rae Surface, who has loved being involved with FPT during this, her first season.
Even though Cantey admits he was hesitant to write this adaptation along with FPT’s Managing Artistic Director Thom Hofrichter because so many adaptations exist, he states in his program notes that both of them wanted to tell this holiday tale “in a fresh way.”
This fresh approach is immediately apparent as the entire cast hauntingly discusses a recent death during the opening scene. Over the next ninety minutes, the audience is whisked away through the pages of the famous author while a visually aesthetic experience unfolds before them. Through the use of creative staging, lighting, and puppetry, Cantey has created a stirring, modern take on the classic tale.