Hundreds of lanterns are hung throughout the entire Lyceum Theatre for this production of A Christmas Carol. Jack Thorne (Harry Potter and the Cursed Child) has adapted Charles Dickens’ holiday staple and those lights will be needed to guide the audience through the darkness. This tale of Ebenezer Scrooge is bleak (in a good way) and ultimately redemptive, if a trifle overbaked.
Campbell Scott is a wonderful Scrooge, full of anger and greed. The clever set design by Rob Howell has boxes submerged in the floor. When pulled out, they stack and create furniture but also represent the safe deposit boxes in which to hoard money. Scrooge believes that “taking on a debt is a kindness.” At his own funeral, Scrooge sees his nephew Fred (Brandon Gill) remarking “my uncle was unable to find joy in the most basic of things.” He adds a disarming coda. “He was a tragedy.”
This version of A Christmas Carol lays its darkness on heavily. When redemption finally happens, the contrast is striking. There is much to enjoy in this retelling staged by the inventive director Matthew Warchus (Matilda, The Norman Conquests, Boeing, Boeing). There are head scratching misses, however, which detract from the story’s power.
Two excellent actresses, Andrea Martin and LaChanze, play the Ghosts of Christmas Past and Present. Their performances are so oddball that they seem jokey. LaChanze delivers hers in a Caribbean accent wearing sunglasses. Any weight of drama is stripped away. Chris Hoch’s Marley is uneventful except for the surfeit of chains. Thankfully Mr. Scott is grounded and effective watching the scenes unfolding in front of his eyes.
There are genuinely touching moments such as a view into Young Ebenezer’s boyhood (Dan Piering) playing with toys. His late in life visit to Belle is a triumphant expression of raw emotions. Sarah Hunt is magnificent in the part of the girlfriend who got away. Tears visibly stream off her face as the two reflect on their pasts and presents. Audience members could be heard sniffling. It is one of the finest scenes on Broadway this year.
Other particularly positive aspects of this production are the performances of Dashiell Eaves as Bob Cratchit and Rachel Prather as Scrooge’s sister, Little Fan. She doubles as the guide through Christmas Future in the far better second act. The celebration of the spirit of Christmas is gloriously realized in an audience participation preparation of the feast. That creative idea goes on way too long, however, and it becomes awkward to watch the forced frivolity.
The nice touches and quieter moments are where this production makes its mark. There are multiple times the cast performs Christmas carols on hand-held bells. That effect grounds this tale in the past and is sweetly nostalgic. The set offers a bunch of surprises. Other than the hideous ghost outfits of patchwork, the costumes are transportive.
At the end of the day, A Christmas Carol must have a great Scrooge to be successful. Campbell Scott delivers that performance. His transformation to joy is effectively realized and shocking from what came before. This version has some flaws for sure but can be recommend for an abundance of creative innovation and visual flourishes. The ghosts matter less in this retelling. That makes the living and breathing among us even more important to consider. Who wants to hear “he was a tragedy” at their own funeral?
A Christmas Carol is running through January 5, 2020.