Review by Jennifer Mustoe, Front Row Reviewers
I am familiar with Charles Dickens’ A Christmas Carol, so I was skeptical that Jacob Marley’s Christmas Carol could present anything remotely humorous. But this interesting, other worldly, thought-provoking production at the Covey Center for the Arts is all of this and yes, delightfully funny.
The play, based on the novella written by Tom Mula, details the life of Ebeneezer Scrooge’s business partner in the Dickens iconic tale of Scrooge’s hatred, greed, selfishness, and then his ultimate redemption. He receives this absolution with the assistance of three spirits, the first of which is the deceased Marley, miserably wrapped in the chains and pain of hell. In a cast of four players, Jacob Marley’s Christmas Carol is stunning. Each actor performs different characters, using different accents, mannerisms, and actions appropriate for the part. I watched this panorama with delight. It’s a marvelous spectacle.
Thomas Judd plays the hapless, tormented Marley, and the horrors he experiences in his afterlife are wrenching and frankly terrifying. He is in hell, and it’s a place no-one wants to be. Judd is fascinating and so believable, the itchy crawl of Marley’s plight hit me hard. Even though it’s been described in the Dickens novella and in this show that Marley is a rotter, I couldn’t help but feel intense fear and sorrow for him. With tragic realness, Judd’s portrayal of Marley’s misery gives you that sick pit in your stomach, but you can’t look away. And inspires sympathy in large doses.
Bogle, a spirit with an amazing Scottish accent, arrives to share the good news that Marley can escape from the fog-filled steamy jaws of the darkness below if he can redeem Scrooge. Aunah Johnson’s remarkable performance is the light (literally) of the show. With her glowing wand pulled from her satchel, Bogle shows Marley the way. Johnson’s exceptional talent as one who can inspire but also realistically and practically the warnings she gives Marley bring him the smallest bit of hope along the way. Though he grieves–how can anyone change Scrooge from horrible to wonderful?–the talented Johnson moves the story along with the willingness in truly investing in this role. Her physicality and movement, her ability to break the fourth wall and interact with the audience (try to sit on the front row for this enjoyable aspect of this show), and her authenticity makes one hard pressed to not think she may or may not be your favorite character.
Scrooge makes an appearance, of course, but because this story is really about Marley, Ebeneezer is not seen in every scene. Matthew DelaFuente, a Covey staple, fleshes out this role with vigor. Scrooge’s meanness, his high and mighty pride, and his black heart are convincing. Scrooge is horrible and DelaFuente oozes this effectively. We hate him, so good job, DelaFuente. (And his joyous change of heart is satisfying and delightful.)
To round out the quartet of actors is Nate Coleman, an actor of many roles in Jacob Marley’s Christmas Carol. Coleman’s old man character is wonderful–from mannerisms and physicality to facial expressions and the voice of an octogenarian, Coleman is a talented chameleon. This young man will go places. I hope.
One of the finest bits in JMCC is the use of switching from characters to narrators. From reciting prose from the novella A Christmas Carol, along with modern re-telling of the original tale, we easily understand what is going on to whom and how and when. Meaning, first he’s Scrooge, first she’s Bogle, first he’s Marley, first he’s many authentic characters in the show, and then the actors switch to being real people explaining what is going on. I understand this play has been performed as a one-person show and I believe the Covey’s version is far more nuanced and must be more enjoyable. Watching people pop from character to narrator, and Bogle snapping her fingers often to change scenes is part of the fun. Fun, you say? Yes, there is much comedy and finally, joy as these four actors reveal what can only be described as a redemption story with heart, pain, and ultimate rejoicing. It is easy to cognate who is who and what is going on, and I felt like I was stepping into and following each character with easy understanding. Some of this narration is explanation and some actual verse from the novella. This gives the show lightness, comprehension and for me, like I was part of the action, not just an observer.
Director Lynne D. Bronson has done a marvelous job instructing her players to move across the bare bones set, giving them the freedom to athletically use the entire space, the opportunity to emote and expertly flex their acting muscles. Bronson is a recurring director at the Covey, and Jacob Marley’s Christmas Carol accesses her genius in her craft. The show never lags, and her blocking (where actors are placed onstage) gives her cast quick, often athletic, and interesting staging.
Though the set itself is a typical black box variety, black stocky furniture with few embellishments, this is effective as it highlights the few adornments (chains on the wall for instance) to let the actors shine. Technical director Robert Seeley, scenic designers Seeley and Spencer Powell, Lighting Designer and Master Electrician Powell, Sound Design and original score by Robert Neuhaus have created a stellar space where the actors can perform. I have rarely seen such precision and talent from a production crew. It felt like the production team had created a new “character” that is apparent and essential. Costume, Hair, and Makeup Design by Elizabeth Crandall and Seeley, along with Wardrobe by Brenna Wall, Jessica Moody, and Katrina Young, and Props Manager/Stage Manager Emily Hughes bring their talents and efforts to this show with expertise. I am very impressed.
With all the many holiday shows, plays, musicals, concerts, ballets and so forth, it’s wise to pick and choose where you want to spend your time. I highly recommend you put Jacob Marley’s Christmas Carol on your Must See List. It is sweet, funny, thought-provoking, and expertly performed. You’ll love it. And God Bless us, everyone.
The Covey Center for the Arts presents Jacob Marley’s Christmas Carol , based on the novella by Tom Mula.
The Covey Center for the Arts, 425 W Center St, Provo, UT 84601
Monday – Saturday, 7:30 PM
Tickets: $28.86 Adult, $23.49 Student/Senior/Military
Contact: 801-852-700
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Jacob Marley’s Christmas Carol production reel
Note: I am familiar with Charles Dickens’ A Christmas Carol from actually performing in a local production and watching various filmed adaptations. The text in the show that was straight from the novella was unfamiliar to me, but did not hamper me from understanding the play. I don’t think a lack of knowledge of the original storyline will make this Jacob Marley difficult to follow and enjoy. However, though I would recommend this show to children, perhaps over the age of 8, if they are at all familiar with the original story, it will be more enjoyable. There are several excellent productions that I recommend:
The Muppets Christmas Carol–on various streaming platforms
A Christmas Carol: The Musical
A Christmas Carol
Also, the book is an audiobook. Finally, I found many videos on YouTube that are fun and interesting to find out more about Dickens’ fine work.
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