PicksInSix Review: Manual Cinema's "Christmas Carol" - Studebaker Theater

PHANTASMIC: SCROOGE OF SHADOW AND STRINGS!
PicksInSix® Review | Guest Contributor | Sarah Fiorello

Emmy Award-winning Manual Cinema returns to the historic Studebaker Theater with their one-of-a-kind production of “Christmas Carol,” adapted from the Charles Dickens novel.  Now in its fifth year, “Christmas Carol” was born on Zoom screens during the pandemic in December 2020 before moving to Writer’s Theatre in 2022 where it was first mounted for a live audience. This classic story, playing through December 28th, is reimagined in a way that is sure to give you hope for not just the holiday season, but for the future of live performance.

Manual Cinema is a Chicago-born performance collective founded in 2010, perhaps most known for “The Forger,” their 2017 Emmy Award-winning video for The New York Times. A modern take that is true to the novel, “Christmas Carol” is redefining theatricality with their multimodal approach to this stage adaptation: shadow puppetry, original live music, multi-screen cameras and projections, puppets, actors, and most importantly: heart.

As the houselights dim, we drop in on Aunt Trudy, spending her first Christmas alone after the passing of Joe, her husband/long-time partner/it’s just a little bit complicated. Left to begrudgingly carry on his Christmas Eve tradition for her quasi-in-laws, Aunt Trudy stumbles through a half-hearted performance of Joe’s Christmas Carol puppet show, amidst the pandemic familiarities of no contact food delivery and above average alcohol consumption. Before long, we see the lines blur between the story Trudy is telling and her own, as her ‘For Sale’ home fills with the ghosts of Christmas past, present, and future.

The story is seamlessly anchored by LaKecia Harris’s performance as Aunt Trudy, and the production comes to vivid life with storyboards and puppet design by Co-Artistic Director Drew Dir (with additional puppet design and fabrication by the Chicago Puppet Studio) and original score and sound design by Co-Artistic Directors Ben Kauffman and Kyle Vegster. With a stellar group of live musicians, magic-making puppeteers, and reportedly over 300 cues of live, prerecorded sound effects, “Christmas Carol” accomplishes something fresh, unique, and at the cutting-edge of human-powered creativity.

Manual Cinema’s creators of “Christmas Carol” lean into the emotional heart of this story and the holiday season, not shying away from the flip side of all that holiday cheer: the inevitable sadness of lost loved ones. This production provides a space to journey through grief and joy, isolation and connection, regret and compassion. It brings as much heart as it does ingenuity: a truly special night of theatre.

I’ll be back before the holiday season is out, no doubt with a friend or two in tow. Manual Cinema has found a new supporter in me, and I look forward to their next local production “The 4th Witch”—an inversion of Macbeth—presented as part of the International Puppet Theater Festival in January. I’ll be hard pressed to miss whatever future phantasms Manual Cinema brings to Chicago, keeping creativity alive and well in our fair Second City.

GUEST CONTRIBUTOR | SARAH FRANCES FIORELLO is a graduate of Shenandoah Conservatory with a BFA in Music Theatre and a Chicago-based poet, writer, and performer. Instagram: @writtenbysarahfrances

PHOTO|Jenn Udoni, Franco Images

Manual Cinema
presents
Christmas Carol
Studebaker Theater
Fine Arts Building
410 S Michigan Avenue
through Dcember 28

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PicksInSix Review: A Christmas Carol - Goodman Theatre

“A Man’s Actions Foreshadow Certain Ends”
PicksInSix Review | Ed Tracy

The corner of Randolph and Dearborn was abuzz Sunday afternoon with the thriving Christkindlmarket on Daley Plaza and patrons, all decked out for the holidays, pouring in and out of Petterino’s that has a festive seasonal atmosphere all its own this time of year. And next door at Goodman Theatre, carolers entertained the crowd and lit the Goodman tree prior to the press opening of the 47th annual production of Charles Dickens’ “A Christmas Carol.”

If you are counting, that’s a magnificent accomplishment. Presenting a timeless classic for nearly five decades—over 20 of them in the Goodman’s elegant Albert Theatre—takes some inventive twists and artistic turns to keep it fresh and engaging for multiple generations of returning audiences and edgy enough to attract newcomers. The Goodman, now under the artistic leadership of Susan V. Booth, succeeds again on both counts.

In Director Jessica Thebus’s delightfully haunting new offering of Tom Creamer’s adaptation with contributions from Neena Arndt, Christopher Donahue wraps his own distinctive style of demonic humbuggery around Ebenezer Scrooge as he transforms from an embittered loner to the toast of the town after facing three spirits who show him the implicit error in his ways. Right from the start, Donahue infuses Dickens erasable miser with a dark and heavy dose of disgust for all things Christmas, from chastising his earnest clerk Bob Cratchit (Anthony Irons) over a lump of coal and dismissing the loving affection of his niece Frida (Dee Dee Batteast), to summarily rejecting the appeals for support from Mr. Ortle (Wai Yim) and Miss Crumb (Penelope Walker). The levels of meanness in Donahue’s Scrooge appear to have no bounds early on and provide the brilliant actor a wide range of emotions for the transformative scenes that follow.

The story—which is smartly narrated throughout by the charming Kate Fry—follows Scrooge and the spirits in a trip to his own past, present and future, foretold in the chilling visitation from his dead-as-a-doornail partner Jacob Marley (William Dick). In Scrooge’s high-flying encounter with the Ghost of Christmas Past (Lucky Stiff) a visit to his former school and sister Fan (Tafadzwa Diener) is followed by a vision of his apprenticeship with Fezziwg (Robert Schleifer) who communicates with sign language and the aid of his interpreter Max (Mark Bedard). The festive Fezziwig party atmosphere is shrouded by the ambitious young Scrooge (Daniel José Molina) and Marley (Arash Fakhrabadi) who hatch a devious plot at the expense of any future relationship that Scrooge might have had with the lovely Belle (Amira Danan).

The Ghost of Christmas Present (Bri Sudia) drops Scrooge in to observe Bob Cratchit’s family and the plight of Tiny Tim (Ava Rose Doty) which leads to the dark predictions of the Ghost of Christmas Future (Danan). It’s then all up to Donohue’s masterfully jubilant self-realization and redemption in understanding the true spirit of Christmas.

There are supreme elements of joy for everyone in Goodman’s fine production of “A Christmas Carol”—the superb on-stage musicians, long a distinctive element of this show, here performed by Hillary Bayley, Brian Goodwin, Malcom Ruhl and Gregory Hirt; Todd Rosenthal’s arresting scenic design colorfully awash with Keith Parham’s lighting; elegant period costumes by Heidi Sue McMath; and, a multi-talented ensemble playing many roles—all making this satisfying and heartfelt show a perfect family destination for the holiday season.   

PHOTO|Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 30

WEBSITE

(312) 443-3800

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For more reviews, visit: Theatre In Chicago

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PicksInSix Review: A Christmas Carol - Goodman Theatre

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Pure, Timeless Dickens Magic and Merriment!
Guest Contributor | Scott Gryder

With over 100 different versions of this classic story available, I was ready to enjoy the popular Charles Dickens’ classic “A Christmas Carol,” but I was nowhere near prepared for the magic that Goodman Theatre would bring to its 44th annual production! With the entire house packed with families and friends of all ages on Thursday night snuggled into the Albert Theatre, enjoying the soft, welcoming glow of the stage’s London street scene, it warmed the heart to see the return of this beloved holiday tradition.

After over four decades of performances, you’d expect a production to show some wear and tear, but Goodman Theatre’s “A Christmas Carol” ages like a fine gluhwein. Chicago favorite Jessica Thebus, co-adaptor/director of Goodman’s superb 2020 audio streaming version, creates directorial magic onstage. Thebus masterfully presents flawlessly flowing stage pictures, especially considering the could-be intimidatingly large ensemble, peppered with delightful surprises. The famous plot focuses mainly on Ebenezer Scrooge’s personal reflection and growth; however, the theme that rings truest reminds us to be kind to everyone, for you never know where they’re coming from, nor what they’re going through.

As for Goodman’s Scrooge, Larry Yando delivers a masterclass in performance. Returning for his 14th year, Yando incorporates delightfully shifting vocal stylings and physical energy that keeps the audience continually falling in love with the antagonist. From a graveled character voice, reminiscent of a barren tree branch scratching across a wintery windowpane, to his spontaneous celebratory gyrations, comparable to a joyful toddler learning to walk, Yando’s ability to balance moments of sinister humbug with physical comedy are remarkable. Contrastingly, Thomas J. Cox amuses and captivates with a mousy timidity and enthusiasm as the underpaid clerk Bob Cratchit. And the epic ensemble doesn’t waste a beat onstage. Whether filling a London street scene or attending a private party, each cast member brings a fully developed character, nuanced and alive to every moment. Particular standouts include Gayatri Gadhvi’s stirring and poignant Tiny Tim Cratchit and the silver-and-gold vocals of Bethany Thomas’ Ghost of Christmas Present.

The show starts unexpectedly small, using the concept of intimate fireside storytelling; however, it doesn’t take long for the stage to hustle and bustle with an ensemble that glides so meticulously into stage pictures as if choreographed. Although slower paced and delivered in a more formal language style than I’d expected of a family-centric production, Thebus’ casting admiringly celebrates gender, color, and orientation, and the audience is captivated throughout as the multitude of cast members and mammoth set pieces continually dissolve and materialize before our very eyes as we weave through the time-honored plot. The subtle, natural use of performer amplification was also greatly appreciated.

The true abracadabra comes from the combined design genius of “A Christmas Carol.” Set designer Todd Rosenthal’s use of nearly invisible multi-layering and floating sets, along with staggering control over special effects, breathtakingly recreates the realistic and idyllic scenes of a Thomas Kinkade painting. In perfect complementarity, Keith Parham’s lighting wizardry only further illuminates Rosenthal’s sets, providing secret passageways for sudden reveals and visual trickery. The charming mix use of muted and lush palettes of Heidi Sue McMath’s costume designs provided just enough visual punch without losing the traditional touch of Victorian England garb. Contrastingly delving fiercely into the realm of Scrooge’s visiting spirits, McMath assembles looks of a Lady Gaga/Liza Minnelli red carpet affair; a personified, propagating Tannenbaum; and the soul-sucking menace of a Rowling-Dementor-meets-Henson-Skeksis. And the cinematic sound design of Richard Woodbury creates palpable layers of emotional sustenance, fervidly transporting the audience from beginning to end.

After witnessing the transformation from holiday hooey to pure childlike innocence, I left the Goodman Theatre filled with Scrooge’s (or should I say Yando’s?) contagious holiday gratitude and cheer. It’s no wonder it’s been a Chicago holiday tradition now in its fifth decade, Goodman’s “A Christmas Carol” triggered the start of the holiday season in my heart!  

PHOTO| Liz Lauren

Goodman Theatre
presents
Charles Dickens’
A Christmas Carol
through December 31

WEBSITE
(312) 443-3800
TICKETS

For more reviews, visit: Theatre In Chicago

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PicksInSix® is a registered trademark of Roxbury Road Creative, LLC

"What do you see in it?"

HARD TIMES

What it's about ... an inspiring adaptation, originally staged in 2001, of the Charles Dickens classic by Lookingglass Artistic Director and Ensemble member Heidi Stillman, who also directs this story about the life and times, and the great divide between the upper class and working class of Coketown, a mining community in the grip of a powerful and arrogant owner who maintains benevolent control until the innocence of circus arts begin to turn widespread despair into hope.

Just the facts ... in and among Mr. Bounderby’s social circle is the upper crust Gradgrind family, a teacher, whose students include his daughter, Louisa, on whom Bounderby has affections, and wayward son Tom, and Sissy, a young girl raised in the circus who is taken in as a ward after being abandoned by her father, a circus clown. The story centers around Louisa’s evolving education and the unravelling of Stephen Blackpool, a common laborer whose morality transcends everyone else. As fate steps in, Blackpool becomes the unwitting victim of the power and greed of those who wish only to hide their darkest secrets from view at the expense of all others. All is not lost as love triumphs, and light, in the smoke-filled recesses of Coketown, ultimately shines through.

What stands out ... Dickens compellingly rich characters spring to life in Stillman’s absorbing production,  which reunites many original cast members with gloriously talented actors who have extraordinary circus and acrobatic skills. The aerial artistry, staged seamlessly with the story in sweeping fashion by Sylvia Hernandez-Distasi, is flawless. The versatile set by Dan Ostling, allows our imagination to trip from classroom to sitting room, from the squalor of a shabby apartment through a busy street to the grandeur of an elegant dining room, and back again, in the blink of an eye, enhanced impeccably by Mara Blumenfeld’s costumes, lighting by Brian Sidney Bembridge and sound by Andre Pluess.

Who to watch ... David Catlin, returning to the roles of Sleary and Stephen Blackpool, Raymond Fox, back as Mr. Gradgrind, and, Louise Lamson, who created the role of Louisa but here plays Rachael, are inspiring to watch together, contributing mightily to the vibrant textural and visual masterpiece. Troy West, once again the irascible Bounderby, brings a chilling level of obstinate authority that is perfectly aligned with the powerhouse performances of Cordelia Dewdney, a sultry Louisa, and Amy J. Carle, the diabolical Mrs. Sparsit. The entire ensemble is superb in multiple roles, however, this story unfolds early on through the eyes of Sissy, played exquisitely by Audrey Anderson, an extremely versatile and captivating newcomer in a breakout role. There is no doubt you will be seeing a lot of performances by Ms. Anderson on and above many stages, but don't miss this one. It’s a gem.

A moment or two to savor ... if you have ever been transfixed by a roaring fire and wondered what you see in it, there is a beautiful moment between Ms. Dewdney and JJ Phillips where the answer is revealed. You will also be in awe of the multi-talented Raphael Cruz right at the top.

Why you should go ... Lookingglass Theatre Company is celebrating their 30th season and an on-going association with The Actors Gymnasium, collaborating to develop engaging, story-centered ensemble productions. Hard Times, first created and produced in 2001, is now presented for the first time in their home since 2003, Chicago’s landmark Water Tower Water Works. A perfect holiday treat for the entire family.

Photos|Liz Lauren

LOOKINGGLASS THEATRE COMPANY
HARD TIMES
through January 14, 2018
821 N Michigan Avenue (at Pearson)
Chicago, IL 60611
(312) 337-0665
TICKETS
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