Look out, Grinch: Here comes CSC’s ‘Christmas Carol’

By Rich Fahey

BOSTON – The competition is keen. Just up the street at the Wang Center, the Grinch and his dog Max are terrorizing The Whos.

On Washington Street at the Citizens Bank Opera House, Drosselmeyer and Co, hold forth in the Boston Ballet’s annual production of “The Nutcracker.”

But the Commonwealth Shakespeare Company is keen to compete to be your holiday entertainment of choice. The CSC, which already produces the annual “Shakespeare on the Common” series, recently unveiled its own adaptation of Charles Dickens’ “A Christmas Carol” at the Cutler Majestic Theatre, anchored by the redoubtable Will Lyman as Ebenezer Scrooge and onstage through Dec. 22.

The good news is that the adaptation has the goods to challenge both The Grinch and “The Nutcracker” for many years to come.

CSC’s adaptation is by Steve Wargo, with direction by the company’s founding artistic director, Steve Maler, and featuring gorgeous musical arrangements by Dianne Adams McDowell.

This “Carol” is less Scrooge-centric than many others I’ve encountered; that is not to say that Lyman’s performance as Scrooge isn’t essential to the success of the production, but with so many theatrical weapons to deploy, Maler can take some of the load off his shoulders.

Behind Lyman, the winner of several IRNE and Norton awards, whose resume also includes many TV and movie productions and a lengthy stint as the narrator of the PBS series “Frontline,”  there are many other names theater-goers have grown to appreciate over past decades, as well as a passel of young, promising new talent.

Any production that includes not only Lyman but local theatrical icons such as Bobbie Steinbach (Jacob Marley and Old Joe) and Kathy St. George (a variety of roles) is headed in the right direction. Add Aimee Doherty, Jared Troilo, and Kayla Shimizu, who all exude warmth as, respectively, Mrs. Cratchit, Scrooge’s intrepid nephew Fred, and Fred’s wife Meg. Robert St. Laurence is Bob Cratchit, who breaks your heart on his scenes with Xavier Rosario as Tiny Tim.

The spirits are in good hands in the form of Kathryn McKellar (Ghost of Christmas Past), the always-welcome presence of Carolyn Saxon as the Ghost of Christmas Present) and the talented Damon Singletary (Ghost of Christmas Yet to Come).

The scene in Act I at Fezziwig’s warehouse party is one of this production’s true high points, featuring two stalwarts from the world of opera: Neal Ferreira as a joyous Fezziwig, and Laura McHugh as an ebullient Mrs. Fezziwig. John Lam’s choreography conveys the sheer joy of the evening, and the scene where Belle (Lily Segal Steven) breaks off her engagement to Young Scrooge (Alex Poletti) is a heartbreaking as ever, and allows Lyman to break down and show true remorse at the wrenching reminder of the loss of his one true love.

And Maler has also dipped into the world of opera for Fred VanNess as Topper and the aforementioned McKellar, two more vocal standouts. The youthful members of the Green Cast provided able support with Quinn Murphy in several roles, Maia Ettinger as Fan and Belinda Cratchit, and Xavier Rosario as Boy Scrooge and Tiny Tim.

If you have a panoply of great voices and a wonderful musician such as Dan Rodriguez as accompaniment, it’s time for music, music and more music. The songs of the season include several period pieces – Dickens set the story in London in 1843  — as well as traditional songs and carols. The music and the fabulous voices give the piece its vibrancy, whether  it is a solemn “Silent Night” performed by the company in candlelight, or the joyous “Here We Come A-Wassailing.”

An imposing presence, Lyman deserves a warm welcome into the fraternity of Scrooges. Perhaps, though, Wargo’s adaptation could be tweaked so that the ultimate redemption is more measured rather than an abrupt 180-degree turn.

A few more  bread crumbs spread along the way – presenting how Scrooge’s  outlook on Christmas is gradually changing — would also help to make ultimate redemption smoother.

Other than a couple of possible tweaks in the book, Lyman’s take is already a fully-formed performance, making the iconic role his own.

And while Rodriguez is one fabulous musician, I couldn’t help thinking even he could use some additional help in support of the gorgeous voices and vocal arrangements presented at every turn.  

In keeping with CSC’s summer productions on The Common, this show’s production values are simply sublime, starting with a most creative, as well as versatile. scenic design by Scott Bradley, and Fabian Fidel Aguilar’s period-perfect costumes.

Aja M. Jackson’s lighting and David Remedios’s first-rate sound design work in concert with the other elements to make this “Carol” a joy to behold.

Maler said before the show he hoped this production could become an annual tradition, providing a holiday bookend to its annual summer production; the CSC also supports other performances as well as an expansive theater education initiative. His direction is en pointe but, as with any production that hopes to be an annual tradition, expect some tweaks along the way.

Dramaturg Natalie McKnight, in program notes, said “it is heartening to see that this tale of redemption still resonates with readers and viewers around the globe. It is never too late to become a better person, a better people, Dickens tells us in “A Christmas Carol” – and we listen, time and time again.”

Lyman and Co. not only have stories to tell, but lessons to teach us, and this new take on a timeless provides stern competition for both The Grinch and Drosselmeyer.

The Commonwealth Shakespeare Co. production of Charles Dickens’ “A Christmas Carol.” Directed by Steven Maler. Adaptation by Steve Wargo. Musical arrangements by Dianne Adams McDowell. At the Cutler Majestic Theatre through Dec. 22. For ticket information, commshakes.org.