Charles Dickens’ “Christmas Carol” has been around so long that early film versions are now closer to the author’s era than to our own. Yet unlike Scrooge’s grouchy side, this tale won’t be disappearing anytime soon.
And the latest local version showed why.
Presented by Williamsport’s Community Theatre League over the first two weekends in December, this stellar staging was a snowstorm of seasonal spirit, with colorful costuming, characters, comedy and — yes — a cadre of carols!
The show was directed by Marie Fox, a recently retired drama teacher who still directs for Williamsport High School — and CTL, of course. Fox and co. used a clever 2023 adaptation by Rob Melrose — featuring roughly three dozen roles. This is achieved by fleshing out the families (Belle’s and Bob’s); by filling the stage with ensemble singers and dancers (e.g., Fezziwig’s ball); and most notably, by distributing huge chunks of the text among numerous narrators.
And if you think about it, that makes sense: Not only is Dickens’ prose complex and effusive; but also, a single narrator reciting (for example) the nine-paragraph prologue — well, that would be tough on speaker and audience alike.
And so, as an instance, when Dickens describes the vast array of foodstuffs laid out before the second spirit, this version gives one item at a time to seven or eight different characters; the terms thus bounce about the stage like a bout of linguistic Ping Pong — or, perhaps, a friendly snowball fight.
Fox’s sensational cast included numerous children — and many actors taking more than one part. It would be tough to praise them all individually — but special kudos to: Jason Kriner (Scrooge); Chris Dailey (Marley); William Martel’s Fred; Tim Heilmann’s vigorous Fezziwig; and the two families — particularly young Jojo Cipriani as Tiny Tim (honest, it’s like this tyke was born to play the role).
The tech in this show was likewise terrific: lighting; smoke effects; projections of rural landscapes and London rooftops; and those Christmasy-costumes — all the more remarkable considering the quick changes needed by multi-part actors.
One nice touch was to cast females as the two alms-collectors (those seeking contributions from Scrooge at his office). Not only did this allow for more intimidation from his gruff rebuff — but also, with one of them near Scrooge’s age, their final pledge of a later visit hints at future romance for the remade recluse.
Other fascinating changes:
Right before Scrooge’s break-up with Belle in the past, Melrose lays ground for this by having Fezziwig introduce a younger Belle to a younger Scrooge as the ball is ending. And then, when the slightly older Ebenezer lets Belle get shoved aside by his growing greed, a watching Scrooge looks right at his young self and says bluntly, “Oh, you fool. … Don’t let her go.”
Much later, in the future section, as Scrooge sees the Cratchits’ grieving their lost son, Melrose takes a sentence from Dickens’ narrator and gives it to Ebenezer instead: “Oh, spirit of Tiny Tim, thy childish essence was from God!”
All of which is to say that this show satisfied the die-hard Dickens fan (that would be me) as well as regular folks seeking seasonal cheer.
Normally, one would write a piece like this either before or during the run — to urge better attendance. But actually, CTL didn’t need my promotion; Fox told me they were completely sold out.
Whatever they put on their Christmas list next year, you’d better check it twice — and get your tickets early.
