CSC’s second ‘Carol’ is both light and dark

By Rich Fahey

BOSTON – Peace on earth, and goodwill towards men. It was in short supply in Charles Dickens’s London in 1843, and perhaps it is still lacking in the here and now in 2025.

In the Commonwealth Shakespeare Company’s second annual production of Dickens’s “A Christmas Carol,” the portrayal of the downtrodden residents of London and the darkness of the tale often take precedence over the joyous music and choreography that are also part of the piece.

Sometimes we forget just how dark Dickens’ tale is … until it isn’t.  But there is balance and it isn’t short on the merriment side, especially after Ebenezer Scrooge makes his magical transformation into Father Christmas.

 There are harrowing scenes that harken to the depths of human misery. Street vendors selling every manner of goods crowd the street … simply to eke out a living and stay alive for another day.  Later, the dirt-poor Mrs. Cratchit (Tamara Ryan) howls with grief and is inconsolable at the unnecessary death of her Tiny Tim (Paul Jagger Karger). And the young actors playing Want (Cora Hertz ) and Ignorance (Eviva Rose) cower at the feet of Carolyn Saxon as The Ghost of Christmas Present, horrifying even Scrooge.

The CSC is presenting its adaptation for the second time  at the Emerson Cutler Majestic Theatre. The acclaimed actor Will Lyman is taking his second crack at Ebenezer Scrooge, and where there seemed to be hesitation at times a year ago, this year he is on track from the start  to work around the edges in making his portrayal more forceful. In his second attempt, Lyman’s take is already a fully-formed performance, making the iconic role his own.

Both his churlish, miserly first act behavior and his larger magical transformation  in Act II ring true. He anchors the production again, but he has plenty of support from a cast that largely returns from the first production.

CSC’s adaptation is by Steve Wargo, and he begins the piece by introducing a group of traveling players who have come to present the story. They sing a song of holiday tidings and set the stage for the show itself, which takes place in London on Christmas Eve.

CSC’s founding artistic director, Steve Maler, again directs and the show again features gorgeous musical arrangements by Dianne Adams McDowell, with Dan Rodriguez onstage as a most capable music director.

The musical numbers are superbly voiced, with luscious harmonies that lift the spirits. There are 17 musical numbers in all; the songs of the season include several period pieces 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.”

The CSC’s superb production values as seen in their annual summer production are replicated in this work, including Scott Bradley’s excellent scenic design, including one structure of gaily decorated boxes that rose to become a towering Christmas Tree. He has also positioned Lyman’s Scrooge at a desk that rises high above the stage, where he can look down on a beleaguered Bob Cratchit (Robert St. Laurence)

Fabian Fidel Aguilar’s costumes, the lighting by Eric Southern III and Jessica Elliot and David Remedios’s first-rate sound design work in concert with the other elements to make this “Carol” a joy to behold.

Any production that includes not only Lyman but another local theatrical icon such as Kathy St. George (a variety of roles) starts off on the right foot. Add Jared Troilo and Kayla Shimizu, who exude warmth as, respectively, Scrooge’s intrepid nephew Fred, and Fred’s wife Meg. The aforementioned St. Laurence as Bob Cratchit breaks your heart in his scenes with Jagger’s Tiny Tim.

Three of the spirits from last year’s production have returned and 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). After Bobbi Steinbach bowed out for health reasons, Singletary doubled up  as a terrifying Jacob Marley.

The scene in Act I at Fezziwig’s warehouse party is again one of this production’s true high points, again featuring two stalwarts from the world of opera: Neal Ferreira as a joyous Fezziwig, and Laura McHugh as an ebullient Mrs. Fezziwig, both are excellent. 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 (Peter DiMaggio) is as 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.

Maler has also dipped into the world of opera and the aforementioned McKellar, and David Jiles Jr. shines as both Topper and Old Joe..

Maler said before the first production he hoped this production could become an annual tradition, providing a holiday bookend to its longstanding annual free summer Shakespeare production on the Boston Common.

The CSC also supports other performances as well as an expansive theater education initiative.

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 tale is quickly becoming a traditional annual gift to theatergoers.

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. Musical Direction by Dan Rodriguez.  At the Emerson Cutler Majestic Theatre through Dec. 23. For ticket information, commshakes.org.