By Julie Halversen Tate
This past weekend marked the opening of Hale Centre Theatre‘s 34th annual production of A Christmas Carol, which is now running at their beautiful new complex in Sandy. Spending a couple of hours there on a wintry night with my family was just the recipe to warm our hearts and encircle us in the Holiday Spirit.
A Christmas Carol is a classic retelling of Charles Dickens’ original story of the same name, first published in 1843. Richard Wilkins and his wife, Melany Wilkins adapted the story, and Barlow Bradford arranged and orchestrated the music, which features authentic-to-the-time carols. Directed by John Sweeney, who takes pride in honoring the original text as closely as possible, this year’s production has created even more immersive experience with its set and staging as Scrooge travels through his miserable, penny-pinching life with each of the ghosts.
The Sorenson Legacy Jewel Box Theatre boasts a unique proscenium thrust stage, which is the focal point from every seat in the tri-sectioned audience. Spectators experience easy viewing from almost any seat in the house, the only exception being some of the very end seats on upper rows near the end aisles, which sometimes will have a partially obstructed view.
The curtain rises to a set that transports the entire audience into London in the early 1800s, where we soon meet Ebenezer Scrooge. The title role is played, double cast, by Shawn Stevens, who makes his debut on the Hale stage, and Stephen Kerr, a familiar face to Hale audiences reprising the role. It was Stevens who brought Scrooge to life on the night I attended.
Spencer Jackson Hohl/Lucas Charon open the show as Charles Dickens, delivering the opening monologue from the pages of Dickens’ classic story with charm and an easy smile. Hohl’s demeanor settles the audience into their seats, preparing for the ride ahead. Soon introduced is Ebenezer Scrooge and Bob Cratchit (David Martin/Anthony Lovato), situated in the dismal counting office of Scrooge and Marley. Hohl transitions into the role of Scrooge’s nephew, Fred, as he enters into the office. The three different personalities—Cratchit’s humble father figure, Scrooge’s gruffness, and Fred’s youthful holiday cheerfulness–juxtaposed against each other set the stage for Dickens’ wild ride that we have come to know and love.
Stevens’ Scrooge is as cantankerous and grouchy as audiences have come to love, and through the opening scenes it is clear that if anyone makes any attempt to persuade him otherwise, regrets will follow. His grumpy, miserly demeanor in every gaze, posture, and hand gesture cause much squirming and nervous laughter in the audience. Dickens writes many comedic lines into Scrooge’s grouchy dialogue and Stevens delivers them with finesse. His furrowed brow is his constant companion throughout the opening scenes. As he is transported by each ghost through memories of his past, present, and future, we witness him immersed in full-spectrum of emotions customary of Scrooge’s transformation from miser to the joyful, generous, charitable and loving man he becomes. His journey from sin to regret to redemption is brilliant.
Hohl delivers his performance of both characters, who are perhaps the most amiable in the cast and a perfect contrast to Scrooge, with charm and vigor and ease. Martin delivers a heartfelt warmth in the atmosphere. The pinnacle of his portrayal of Bob Cratchit is no doubt the future scene with his wife (Natalie Killpack-Daniel/Kate Rufener) and children upon the predicted death of their sweet Tiny Tim, when they gather round each other and embrace as they weep in grief and sing “What Child is This.” Sniffles are heard throughout the theatre as this family grieves this “first parting.” Each member of the family delivers a genuine performance as well, and Killpack-Daniel supports her grieving husband with a beautiful vocal line.
A true highlight of the show is the visitation from Scrooge’s departed business partner, the Ghost of Jacob Marley, played by Matt Kohler/Josh Richardson. Kohler storms into Scrooge’s bedroom through a fireplace that grows to accommodate his size and fills the stage with his ghostly and frightening presence, sparking fear and quite a bit of laughter as well. The visitations from the three Ghosts Past, Present, and Future are wonderful and delighted our audience members completely. The Ghost of Christmas Past (Elle Brimhall/Jackie Spendlove) is a more cheerful, warm ghost than we have seen in previous years and Brimhall is lovely in her delivery. The Ghost of Christmas Present (DRU/Daniel Fenton Anderson) delivers his boisterous, lively version of the ghost joyfully. The Ghost of Christmas Future (Patrick Hawkins/Spencer Jackson Hohl) is again a silent, foreboding presence who leads Scrooge through his dismal and tragic future without commentary.
In true Hale Centre Theatre fashion, Sweeney has assembled a stellar ensemble cast, with every member displaying equal talent and vocal ability as any other. From the Cratchit scenes to the Fezziwig party to the heartbreaking scene when young Belle (Bailee Johnson/Camrey Bagley Fox) breaks off her engagement to a hardened young Ebenezer (also played by Hawkins/Hohl), they draw in the audience. The Octet delivers outstanding vocal numbers and the children in the production round out the ensemble with their jubilant presence. While I only had the opportunity to view one cast, I have every confidence that both casts are equally matched in every way and are prepared to delight audiences nightly. The Hale draws the best talent Utah has to offer.
The production team has once again created a masterpiece. The stunning set design by Kacey Udy boasts full backdrop screen creating scenes of old London and each room, and set pieces built specifically for the production and space inspire awe and create an immersive experience. Lighting designer Michael Gray adds just the right touches of light and darkness to enhance the set. The music, directed by Anne Puzey, fills the air with the spirit of Christmas, with perhaps the most notable scene being the “Silent Night” scene, in which most of the cast participates and the music reaches into our hearts. The Costume Design by Kristy Draper and Susan Burnett and Hair and Makeup Design, led by Candice Cronin, complete the production with period dresses, suits, wigs, and shoes. Choreographer Marilyn Montgomery creates delightful scenes with dancing and movement that are a joy to watch, the Fezziwig scene being a particular delight. It made me want to don a gown and join in, after meeting with Montgomery first, of course, so I’d get the steps right.
Watching A Christmas Carol brought to life is a delightful foray into the holiday season. Scrooge’s path from sin to regret to redemption forces us to ponder on what course corrections we might make to be a little more generous, loving, and kind. We would all do well to take a seat for a couple of hours to be taught and uplifted and leave with full hearts. To paraphrase the oh so familiar words of Tiny Tim, we feel blessed, every one of us, and are reminded of this at the Sandy Hale Centre Theatre with sadness, joy, and gratitude. Merry Christmas!
Hale Centre Theatre presents A Christmas Carol by Charles Dickens, Book by Melany M. Wilkins and Richard G. Wilkins, Original Musical Score by Barlow Bradford
Hale Centre Theatre, 9900 Monroe Street. Sandy, Utah, 84070
December 1-24, 2018, 5:00 and 8:00 PM, Monday-Saturday, Saturday matinees 11:00 AM, 2:00 PM. Additional matinee performances will be held on select weekdays starting December 14.
Tickets: $36-49 adults, $21-26 for youth ages 5-17. (At this time, it is sold out, but call theater for cancellations, etc.)
Contact: 801-984-9000
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A Christmas Carol Facebook Event
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