As many times as I’ve seen Charles Dickens’ A Christmas Carol, I never seem to tire of its heartwarming message. Still, a fresh interpretation is always welcome. Nashville Repertory Theatre’s current staging certainly delivers in that regard, with a festive new adaptation from the Rep’s artistic director.
Leaning into the joy of the holidays, Brewer has concocted a grand, family-friendly production that is brimming with warmth and spirit. He’s added some lovely musical elements, from traditional carols to his own original tunes, with arrangements by music director Gregg Perry. Brewer sets the tone with big company numbers such as “Almost Christmas Day” and “It’s Christmastime Again,” while the tender “Blessing” captures the simple gratitude of the season. And I really appreciated the use of the carolers — with some of the actors accompanying themselves on guitar or violin — to help smooth out the many set changes.
Scenic designer Gary C. Hoff has pulled out all the stops with this one, creating a beautifully layered Victorian set (exquisitely lit by Michael Barnett) that is packed with clever details. Melissa Durmon’s colorful costumes are also quite eye-catching, and D.J. Pike’s projections add interest — whether guiding us through the streets of London or bringing Scrooge’s spectral door knocker to life.
I must admit I was less impressed by the flying effects used to enhance Scrooge’s ghostly adventures, although some youngsters in the audience were clearly delighted by them. I was far more excited by Brewer’s thoughtful adjustments to the storytelling, which add depth, dimension and even a bit of humor. An expanded scene involving the dear Fezziwigs is particularly effective, reminding us of the harsh choices that helped shape Ebenezer Scrooge’s miserable life. My only concern is that by setting so much of the action upstage, Brewer risks losing the impact of the tale’s more subtle moments.
Still, he has gathered a sensational cast, featuring some of Nashville’s most trusted players. Brian Webb Russell is gloriously ghoulish as Jacob Marley. Brian Charles Rooney is picture perfect as the Ghost of Christmas Present, with flowing robes and a booming voice. Galen Fott and Denice Hicks bring a great deal of substance to the fun-loving Fezziwigs, while Eric D. Pasto-Crosby and Jennifer Whitcomb-Oliva embrace the quiet cheer and dignity of the Cratchits. There are several notable Rep debuts here as well, including Kris Sidberry (positively ethereal as the Ghost of Christmas Past), Evan Fenne (dashing as young Ebenezer) and Max Fleischhacker (sweet and earnest as Scrooge’s nephew, Fred).
But the evening belongs to Matthew Carlton and his marvelous performance as Scrooge. According to the program notes, Carlton — who played Scrooge’s nephew in the Rep’s 1990 production of A Christmas Carol — has always seen the old miser as a sort of “bucket-list” role. And he tears into the part with relish — from his first caustic “Bah, humbug!” to his final merry jig. But watch closely as he journeys through past, present and future — it’s in these quiet moments that he reveals his character’s greatest sorrows and regrets. It’s here that Carlton’s Scrooge earns his redemption — and in turn allows us to envision a world where such change is actually possible.
Could this new adaptation have gone even further in exploring the dark realities of Victorian England that first inspired Dickens’ 1843 novella? I wonder if a bit more grit and gloom might have made Scrooge’s awakening even more potent. But if you’re looking for a feel-good show to get your family in the holiday spirit, the Rep’s charming take on A Christmas Carol is sure to fit the bill.
