By Steve Odenthal
If you thought you knew Ebenezer Scrooge (Dee Pace), think again. Alright, Pace plays the same character that we’ve seen before, but somehow brings a twinkle of humor to his role to Heritage Theater’s Broadway’s A Christmas Carol. That is not to say that this version of the beloved Charles Dickens’ tale is told lightly. No, this is still the Scrooge who values wealth over any other thing in life, making no bones about his “Bah Humbug” attitude. Incidentally, Broadway’s A Christmas Carol is also on DVD from a televised version starring Kelsey Grammer as Scrooge and a breathtakingly inventive Jason Alexander (George from Seinfeld) as Marley.
Pace sets the proper tone for us and is perhaps at his best singing “Nothing To Do With Me” in 
the first act, but he also makes Scrooge, even at his worst, a little more humane somehow. I still would not be booking a cruise with the new and improved Ebenezer, but I must admit that I am warming to this new incarnation due in part due to the tone of the new music I heard. This show just seems to have a lighter, more family-friendly presentation. Yes, the messages are still intact, but you won’t be scowling at the ending–that is for sure.
So, how do you change a character like Ebenezer Scrooge? Gently. And you probably start with a new script like this one. Broadway’s A Christmas Carol by Lynn Ahrens, Mike Ockrent, and Alan Menken is becoming the new standard after its Broadway debut at the Paramount Theatre at Madison Square Garden on December 1, 1994. The show was an instant hit and enjoyed a limited engagement every December from 1994 to 2005, playing to large audiences of all ages. The run of eleven holiday seasons is still the longest for seasonal limited engagements on Broadway.
Of course, another new angle to the Perry production in bringing freshness to the old fellow’s role might be to have the actor Pace’s wife become his director. Nedra Pace proves to all that she is up to this challenge and more as she directs a very tight and polished show giving just enough leash to the cast and showing an eye for perfection on the small stage of Heritage Theatre. The feeling is almost intimate as the 
200 seats are close enough for the action to envelop each of us making for an evening of intensity and fun.
Period costuming and set design show a huge investment in detail, providing our vision a rich fullness and satisfaction because very few of us are unfamiliar with the basic story. We get what we expect but then more—so very much more. It is difficult to find a misstep in the design or execution of this show. It is a great family outing for the holiday season.
Cratchit (James Shurtleff) plays the character formerly known as Bob Cratchit and the father of our beloved Tiny Tim (Hyrum Benson) in a manner that captures a bit more self-respect—I like that. He is not of the Scrooge school, for Scrooge has learned his stingy outlook in life from the best in Marley (Rob Christensen); yet the Cratchit character is in danger of finding his own master in Ebenezer Scrooge if a change does not occur and the Cratchit family loses the boy. In Shurtleff’s portrayal, I can sense more than a helplessness in the character. I think that helped bring out a more well-rounded family man who realized that his own destiny was tied into the old man. Shurtleff was more than a passenger in this vehicle.
Mrs. Cratchit (Sheri Riser) and Tiny Tim (Benson) were supportive of their husband and father without being syrupy. Inevitably, you will love Tiny Tim, and Mrs. Cratchit brings more than meat to the table at the times when a backbone is needed. Both actors shine in this production, as they should. No one disappoints in any part of this show and more than a few sitting around me whispered quietly along as Tiny Tim announced, “God bless us, everyone!”
Fred Anderson (David Wilding), the nephew of Ebenezer, has a nice presence in this show. Wilding takes the character to a place where I truly believe Fred’s hope that his Uncle Scrooge can and will change, or at least allow others to touch the miser so that he might enjoy what little of life remains for him. The feat Wilding carries out onstage requires a bit of a fine touch between actors and the director N. Pace so that we can see the flicker of hope that remains in both the nephew and uncle. There is a quiet lesson here that we all can take away. It is not ever too late.
And speaking of lessons, of course, we have three excellent teachers to guide, direct, and at times pummel Scrooge into submission. Those seasoned life skills coaches would be the three ghosts; the Ghost of Christmas Present (David Sensenbaugh), the Ghost of Christmas Past (Karlie Nichols Clark), and the Ghost of Christmas Future (Jacob Thompson). No, in this new re-write they have NOT been re-named Chico, Harpo, and Groucho—they are every bit as intense as they have been in the past. The Ghost of Christmas Future, especially, would have had my very strict attention. (As I have mentioned before, costuming is wonderfully effective in delivering the show and Christmas Future’s garb is such that one would definitely stand up and take notice.) A brief note on each of the Ghosts would be appropriate and so, in order of appearance:
Nichols Clark captures the essence and sweetness of the past in her characterization of the Past Ghost. Aren’t we all a bit melancholy as we 
look back? And the sweetness of her voice starts in us the slight ember of a hope that this Ebenezer fellow once was a soul worth the time to save. My granddaughter whispered to my wife, “She’s just like a Princess”—there is no higher praise in that seven-year-old mind. And, you know, I can’t top that.
Sensenbaugh brings so very much to this role that I love. He relates the vision of the present to Ebenezer, who now would just prefer to pay for his sins and get on with things. And as a towering figure with a jovial personality and rich commanding voice, Present Ghost opens the miser’s eyes to what really is happening under his nose and yet is being neglected by Scrooge’s own disdain for others. Sensebaugh’s voice, while blending very well with others, in the song performs a highlight on its own in the song “Abundance and Charity”.
Future Ghost Thompson’s creativity is on visual display in abundance as he masterfully handles the telling of the future. His costume is one that on its own commands respect, but the movement and motion of his entire body in the suit is so finely choregraphed that he controls the fluidity of those characters around him. Somehow, this ghost was in the mix always, but never a part of it. Pretty spooky—very well played.
Costuming (Samantha Merkley) would be a nightmare for any mortal tasked with this show. All that I can say is that apparently Merkley found the time to capture time, place, and attitude of this piece without blemish. Perhaps she found some magic elixir in the same closet as 
the costume for the Future Ghost. No matter what sorcery she used, these costumes talk, and they speak volumes in the story.
Stage Management (Audrey Christensen) directs the movement and queuing of the cast professionally and set piece placement becomes an art. It is fun to watch. The transitions between scenes is a dance that you will enjoy as the show unfolds.
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Musical Directors (Leah Kennedy, Annette Whitaker) guide us to a much better place than we have been with other scripts. The leads have marvelous voices and are quite capable of delivering solos, but this script is built for cast of just such voices. The message often comes, or is at least is endorsed by others blending their talents with the featured player. It is an effective way to present the musical score, but that delivery combines confidence and discipline from all who contribute. In this show no one diminished their abilities in a number, sacrificing for another’s sake. This was a musically confident and extremely talented cast who obviously had worked very hard with these directors to make each number so very natural. Everyone appreciates the talent of the creators of this musical, but I witnessed a well taught and coached performance. Well done.
Choreography (Sandy Christensen) is handled so very nicely in this show that it can be overlooked. What I mean by that is when Young Ebenezer and Emily dance they seem to be gliding mid-stage alone, even though they are surrounded by the cast. When Mr. Fezziwig’s delightful Annual Christmas Ball is performed you couldn’t fit another person on stage and all action and conversation appeared always to be 
in focus and centered. That scene is perhaps my favorite of the show.
Lighting Design (John Harlow) and the actual lighting of the show (Michelle McGary) make the most of the stage and set pieces by subtle light changes which enhance the show. As mentioned earlier, the visual has a very soothing effect, at least until the ghosts start arriving. I am very interested in bringing a fresh batch of grandchildren to this show later in the run as I know that as good as it is now, it will only get better.
Scenic Artistry (Kelly Donovan, Linda Patterson), Scenic Design (Nathan Hess), and Construction (Nathan Hess, Kerry Norman, Greg Lemke, Harold Hess) combine their extraordinary talents to landscape a beautiful tapestry of delight for the players to perform on. The feel one gets even gazing on the empty set is perfect for the telling of this classic story. The extra wall and therefore a new level upstage is highly effective for this show.
Sound Design and Implementation (Carlos Martinez, Marci Lemke) are a veteran team in the sound booth and do an excellent job of hitting the queues so that we miss nothing.
Marley is the most fearful personage of the show in my opinion. He is still very much a teacher to Scrooge in the old man’s vision. So, does the Marley character take his own bitterness with him beyond the grave, or does he wish a different, less-tortured destiny for his former partner, Ebenezer? To find out, you will have to commit to the price of a ticket and an outing well worth the time. But I will tell you that Christensen’s fine voice was a highlight as it brings a chilling goodness to the song “Link By Link” during our travels on Scrooge’s wild ride.
The ensemble players (Ariane Shurtleff, Cheighny Merkley, Courtney Fairborn, David McKenzie, Ethan Wilding, Ian 
Capener, Joey Benson, Kamryn Lemke, Kaysen Parkinson, Kelsee Jorgensen, Megan Keller, Miranda Stokes, Noah Deckard, Rachel Hunt, Stacey Keller, Tyson Lemke), as they always seem to be at Heritage productions, are of full voice and well-cast. On a smaller stage it is difficult to bring the full cast into just the right blocking positions to allow the action to be paced properly and not obscured. In this production, the director’s staff and cast move quickly and seamlessly to provide just such an experience.
The cast seems perfectly at home in their roles building the story. Mr. Smythe (Ben Jeppsen), Grace Smythe (Sadie Jeppsen), Jonathan (Ty Fisher), Mrs. Mops (Marilyn Whipple), Scrooge’s Mother (Miranda Stokes), Scrooge at 12 (Austin Lemke), Fan (Kali Parkinson), Emily (Katrina Powell)—Scrooge’s fiancé while he was a younger man still working with Marley , Mrs. Fezziwig (Meira Wood), Mr. Fezziwig (Daren Saunders), Young Ebenezer (Caderik Wilson), Young Marley (Bruce Baird), Old Joe (Greg Lemke), and the Cratchit Children (Emily Bingham, Joshua Bingham, Jordyn Lemke) are spot on in their characterizations and move the story along with purpose and efficiency while lending their voices nicely to the strong, very strong music and lyrics. This Theatre is getting quite a good reputation for beautiful renditions and choices in music. The cast is right there musically speaking volumes for the work of the Music Directors.
I am glad that I have now started a new holiday tradition by taking the grandchildren to this show. It is well worth the price of admission ($10-$12). I would recommend that families consider it strongly, but be advised that strong images like zombies, the three ghosts, and the Fezziwigs do make appearances in the show. (The Fezziwig couple are a delight, but zombies—even funny ones—can be somewhat disturbing to the under 8 crowd.) This is a family-friendly theatre and I am sure you will be enchanted with the fast-paced telling of this Dickens classic tale. You will find it is “A Place Called Home” for your holiday delight.
The Heritage Community Theatre presents Broadway’s A Christmas Carol Book by Lynn Ahrens, Mike Ockrent, Lyrics by Lynn Ahrens, Music by Alan Menken
The Heritage Community Theatre, 2505 South Highway 89, Perry, Utah 84302 November 24-December 16 Monday, Friday, Saturday 7:30 PM
Tickets: $10, $12
Contact: 435-723-8392
Heritage Theatre Facebook Page
A Christmas Carol the Musical Facebook Event
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