PicksInSix Review: A Christmas Carol - Goodman Theatre

‘A Christmas Carol’ Returns to Goodman!
PicksInSix® Review | Ed Tracy

Tis the season at Goodman Theatre and Charles Dickens’ “A Christmas Carol” opened on Sunday, heralding in the holiday in festive form. The classic adaptation by Tom Creamer is stylishly directed this year by Malkia Stampley and once again stars Christopher Donahue in an outstanding performance as the irascible humbug Ebenezer Scrooge who finds the true meaning of Christmas, life, and the errors of his ways, through the eyes of three devilishly haunting spirits.

Over the years, Goodman Theatre’s “A Christmas Carol” has consistently delivered a rousing good story, richly told with magical special effects, live music and merriment, and thrilling suspense mixed with a wholesome moral message of the importance of kindness and goodwill to all. That story, and the characters telling it, change a bit from year to year and the production now on stage in the Albert seems to be as fresh and vibrant as the first time I saw it over two decades ago. That is not to say that one particular year is remarkably more entertaining than any other, however, there is a pep in the step of this production that flows smartly from Donahue’s endearing performance and infects everyone else involved in this much beloved holiday classic.

Stampley’s heartwarming production follows Donahue’s Scrooge as he discovers the poignant flashpoints of his life—what was, what is, and what will be. His excessive disdain first manifests itself in his domineering relationship with Bob Cratchit (a terrific turn for Jon Hudson Odom) on Christmas Eve in the office of Scrooge and Marley. It is the anniversary of the death of Scrooge’s malevolent partner Jacob Marley (a chilling Daniel José Marina) and Scrooge is soon confronted by Marley still shackled in purgatory, warning of a similar demise if Scrooge does not heed his warning. That all sets in motion visits by the Ghosts of Christmas Past (Lucky Stiff), Present (Bethany Thomas) and a formidably dark Christmas Future (Molina) to lead Scrooge to his eventual enlightenment.

The festive pageantry of Stampley’s production shines brightly thanks to the multi-talented ensemble who serve as guests who raise the temperature of the holiday party hosted by the Fezziwig’s (Robert Schleifer and Christina Clark, a glorious match), the Christmas Day gatherings at the home of Scrooge’s adoring niece Frida (Amira Danan) and her partner Abigail (Jazzlyn Luckett Aderele), there’s a modern twist, and passersby in the holiday street scenes and within the sobering darkness that is Scrooge’s uncertain future.

Through it all, Donahue captures the essence of the darker side of Scrooge’s lowly persona and his joyous, almost childlike, exuberance in rebirth that bursts forth with all the joy and revelry one can imagine. Along the way, it is fascinating to watch the infinite layers of emotions peeled away as he observes the Fezziwig party from aloft, at the Cratchit’s Christmas dinner and in the joyous enlightenment that finally rings the Christmas bells with reckless abandon. And in supporting roles, Thomas is terrific in a return performance as Christmas Present and as Scrooge’s cantankerous charwoman, the versatile Anthony Irons and Austin Tichenor are delightful everywhere, and, the stunning Sól Fuller sings beautifully as the young Fan along with roles as Catherine and Martha Cratchit.

Todd Rosenthal’s iconic set design, Heidi Sue McMath’s stunning costumes and all the technical aspects from Keith Parham’s lighting and sound design by Pornchanok Kanachanabanca based on Richard Woodbury’s original, add to the eye-popping aura of the show. With the on-stage musicians—including and under the longtime direction of Gregory Hirte who perform original music by Andrew Hansen—young and old alike will share in every facet of this unforgettable experience. There is simply no better way to welcome the holiday season than a visit to Goodman Theatre’s “A Christmas Carol.”        

PHOTO|Brett Beiner

Goodman Theatre
presents
Charles Dickens’

A Christmas Carol
Albert Theatre
through December 31, 2025

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PicksInSix Review: No Such Thing - Rivendell Theatre Ensemble

‘No Such Thing’ Is Anything But.
PicksInSix® Review | Guest Contributor | Ronald Keaton

If ever in Chicago there was a little engine that could, Artistic Director Tara Mallen’s determined Rivendell Theatre Ensemble seems to often be able to do so. RTE celebrates its 30th Anniversary Season with an intriguing, provocative world premiere of “No Such Thing” by RTE Ensemble Member Lisa Dillman, and it runs now through April 27.

Directed in intimate, meaningful strokes by Malkia Stampley, “No Such Thing” shares the tale of Ren (a cast-the-net-wide, fascinating performance by Susan Gosdick), a screenwriter in the midst of mining her life for interesting and substantial stories that can jumpstart her career. Experiencing the reigniting of a career in middle age is something many artists can understand and aspire to. And one of the things that Ren considers in doing so is in adding a layer of inspiring intimacy to her life in the form of a tightly knit affair with someone she meets in a dating app or through personals ads.

The construct here in her exchange with Fallon (fine, articulate work by Josh Odor), an accomplished man of letters, is quite the challenge. They both set rules in their affair: No names, for one, except for what they create within the affair itself. No stories about current life or work. Nothing in the hotel room but lust and opinion and stories they share that may or may not be true. Both Ren and Fallon jump in with both feet, and for a while, the affair is an agreeable, enjoyable journey for both. For a while.

Because meanwhile, back at home, Ren’s husband Ted (the always high-quality performer Matt DeCaro) is a faithful servant of sorts – going to work, coming home, sharing the day, reading the paper, enjoying his bourbon or whatever – all the while unknowingly contributing to the eventual downfall of the marriage. Both Ren and Ted are locked into this pattern. Hence, the affair. There is a daughter Olivia (a bright, knowing portrayal by Jessica Ervin), whose teenaged problems explode over time into personal trauma. Therapy, medication, even a dabble in legal problems occupy the family’s attention in an overly invasive way.

Ren has several meetings with her friend and literary agent Marilyn (the marvelous Cheryl Hamada is a real comic coin for Ren), who acts as the voice over Ren’s shoulder and eventually has to share the fact that her writing has dramatically suffered during all the family upheaval, and that whatever happens, Ren needs to buckle down even more than she is. A tall order, indeed, given the emotional and intellectual walls that need to be surmounted.

The play envelops what seems like a couple of years and there are real surprises in the story. This writer will leave any assessment of the plot to individual minds. Don’t want to give anything away inappropriately. The scenic design of Lauren Nichols offers a quite clever series of sliding panels and walls to indicate different locations; they successfully overcome the necessary limits of Rivendell’s small performance space. But its intimacy is the very thing that helps the audience see this piece for what it is – an examination into the scourges of relevance in life, and how they affect the characters going forward. “No Such Thing” is anything but. It’s a purposeful and powerful treatise that asks its audience to consider such realities as they arise in life, as well as one person’s way in dealing with them. 

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO | Michael Brosilow

WORLD PREMIERE
Rivendell Theatre Ensemble
presents
NO SUCH THING
5779 N. Ridge Avenue
through April 27, 2025

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773.334.7728

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