Actors Theatre of Phoenix' A Christmas Carol at The Herberger Theatre Center Main Stage
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 12/11/99
(out of )Charles Dickens' famous Christmas parable is coming to life again at the Herberger Theatre Center, with Scrooge learning humanity from his Christmas Ghosts. Lately, it's been chic to tinker with the old story, adding elements of the original novel that have been left out in previous adaptations. Last year, local playwright Michael Grady and local tunesmith Alan Ruch, with the help of Actors Theatre of Phoenix' Producing Artistic Director and production's Director Matthew Wiener took the old chestnut and breathed some new life into it. I did not see it, but heard that it was a nice new take on an old warhorse.
After persuasion from one of the cast members, I broke my "No Christmas Shows!" rule and used it as a jumping-off point to see three of this years Holiday offerings. I'm glad I did. During the opening night of this special effects-driven production, I was reminded how great the holiday season is, if for no other reason than giving all of the local talent a chance to show off their wonderful abilities. While the technical element threatens to overwhelm the simple story, blowing it up to the size of Phantom of the Opera, Messrs. Grady, Ruch and Wiener's adaptation does introduce some interesting additions. Also, the choice of nearly two hours without intermission may keep the flow of the show intact, but causes the little ones to stir restlessly in their seats. Ultimately, though, it is the Gerald Burgesses, Ben Britains, and Robyn Ferracanes who breathe the most life into A Christmas Carol, as this all-star collection valiantly struggles to bring humanity back to both this overwhelming production, and this overly-commercial holiday.
The special effects are exciting, if generally superfluous to the story at hand. Mark De Michele, as initial specter Jacob Marley, floats into Scrooge's bedchamber to offer his warning. The knocker on Scrooge's door pops from its post like something from Alien, complete with moving mouth. Scrooge's bed flies from the ground on center stage, always hovering over the proceedings as a reminder that this is all a dream, albeit one to learn from. Perhaps it's the always-seen bed that gives this play the sense of a holiday Phantom. Despite these effects, and more, the actors have their chance to bring forth the real spirit of the season.
As the miser, Mr. Burgess is solid, although one senses that eight seasons of different takes on the same character have taken their toll. His technique is always consistent, even as his passion for the role seems waning. As his put-upon assistant, Bob Cratchit, Mr. Britain is enthusiasm personified. One wishes to connect a turbine to him to collect his energy to light the city for a year. Mr. De Michele's Marley is a groaning, warning offering, but seems toned down from chilling to barely scary by Mr. Wiener's cautious direction, perhaps mindful that this is a show for all ages. The two humans playing ghosts, Patti Davis Suarez and Ken Love, are ebullient almost to a fault. Ms. Suarez has a beautiful singing voice, but little bite. While Mr. Love seems a little forced, and his repetitious "Boo"s become a bit corny, he does manage to muster the power for his final pronouncement. Ms. Ferracane and Gene Ganssle as Mrs. Cratchit and Scrooge's nephew Fred, are nearly flawless. Ms. Ferracane adds to her mystique as Phoenix diva with a great, harried performance and wonderful singing, while Mr. Ganssle is genuinely jolly without a saccharine aftertaste playing the role of Scrooge's holiday opposite. Finally, as Tiny Tim, fourth grader Zachary De Michele does a great job playing the ever-positive and inspiring Scrooge's heart.
The ensemble is wonderful. From Jeanine Pacheco's golden voice as the woman who was nearly Mrs. Scrooge, Belle, to Kristen Drathman's heartwarming nurse, and the great offerings from the Cratchit brood, the shows support team do great work. They present Choreographer Michael Barnard's impressive movement in an eyecatching way. Unfortunately, they also must battle with Mr. Ruch's often overwhelming and discordant orchestrations as supplied by Sound Designer Dave Temby.
By now, you've figured out what I believe the weakest part of this ATP offering is. Technically, it feels like Mr. Wiener has asked his designers, Jeff Thomson's Scenic, Susan Johnson-Hood Costume, Paul A. Black Lighting, Mr. Temby, and Cat Dragon Property, to beat film at its own game. Unfortunately, that never really works. The flying illusions, as provided by ZFX, Inc., are limited, and even a bit intrusive, as the floating bed, despite its probable sturdiness, hangs precariously above the stage. This is one situation where the moving stairway and scaffold work better than the special effect.
Mr. Wiener has overproduced this Christmas Carol, but the performers shine within. It's interesting that the most touching moment, and probably the strongest of the evening, is a wonderful montage of Christmas songs sung by the ensemble in various spotlights with a starlit scrim behind. Dickens teaches that the greatest good comes from the heart, and all of the talented performers bring this across spectacularly in that one beautiful moment.
Production Details:
A Christmas Carol by Charles
Dickens, adapted for the stage by Michael Grady &
Matthew Wiener, Music & Lyrics by Alan Ruch
Actors Theatre of Phoenix
The Herberger Theatre Center, Phoenix
(602) 252-8497
December 11th - December 26th, 1999