Before the performance begins, the stage is bathed in purple and gold light, with gold holiday lights hanging above, and a series of golden bulbs dangling above the seats, helping to pull the audience into the magical realm of the production as soon as they enter the theatre. There is also green light on the backdrop and blue lights on the sides, and the overall effect is pretty. Some bare trees are upstage left, giving us the sense of winter, a time of sleep, which of course plays a big part in the story. Just before the performance begins, a platform is lowered, connecting the front of the stage to one of the aisles, which is made use of for entrances and exits by the cast. They often enter from other aisles as well, further immersing the audience in the world of the play.
When we first meet Ebenezer Scrooge, he has an umbrella in one hand, a cane in the other, and smacks one of the trees with the cane, a humorous and effective way of establishing his character before even a line of dialogue is spoken. The play has a narrator (Frederick Stuart), who effectively works as the voice of Charles Dickens, reading lines straight out of the story. Yet from his delivery, we get the sense he has some affection for the old man, even as he describes his miserly ways. There is a rather sweet and light tone here, which works in part because all of us (or most of us, anyway) know this story and know where it’s going. And, hey, is it horrible of me to kind of side with Scrooge when he shuts up the carolers? And perhaps that is the point here. We kind of like the guy, just as the narrator kind of likes him. So when he is redeemed, we in the audience perhaps feel a need to change ourselves as well. I love that the narrator comments “Nobody under the bed” before Ebenezer looks there, which makes Scrooge appear somewhat foolish, but also obstinate even when alone. He is going to check regardless of what the narrator has said. Of course, Ebenezer is not alone for long.
The entrance of the ghost of Marley (Jeremy Rabb) is fantastic, his chains stretching all the way to the ceiling at the back of the audience, as if some greater power resides up there, a power which can yank him back at any moment. Jeremy Rabb was wonderful as Camillo in last year’s production of The Winter’s Tale (which went up before the pandemic shut everything down), and gives another delightful performance as Marley, in a wild white wig. As he enters, several other chains descend upon the stage, immediately changing Ebenezer’s chamber into a scary place, dominated by a sense of powerlessness. The sound changes as well, with Marley’s “Business?” echoed in a strong and eerie manner. And the chains do pull Marley back, leading to his “My time is nearly gone” line. It is a spectacular scene, and yet somehow this production is able to match that in its introductions of the other three spirits that visit Ebenezer. The first, the Ghost of Christmas Past (played by Deborah Strang, who was excellent as Paulina in that production of The Winter’s Tale and also did a great job as Prospero several years back), enters on a swing above the stage. Wearing a white dress and a black top hat, she seems the perfect vision to lead Ebenezer into his dream world, to a place where women in pink wigs dance. And it isn’t long before we see some change in Scrooge, for, perhaps without even realizing it, he, caught up in the scene playing out before him, dances a bit himself.
The Ghost of Christmas Present is quite a sight, like a giant, jolly holiday decoration himself, like a Christmas tree hung with fruit and leaves. He is played by Alan Blumenfeld, who was also delightful as the Shepherd in The Winter’s Tale. When the narrator says, “which was not dispelled for a full five minutes,” the Ghost of Christmas Present waves his wand and those five minutes are gone, a cute moment, and one in keeping with the magical sense of the entire production. The third spirit, Ghost of Christmas Yet To Come, is frightening, a silent being of shadow and darkness, with twigs for arms, an ominous presence. He is played by Jose Donado, who did an excellent job as Theseus in a recent production of A Midsummer Night’s Dream. The thieves are delightful, even before their song (and their song is great). While not completely a musical, this production does contain quite a bit of music. The original music score is by Robert Oriol.
All of the set pieces are on wheels, allowing for an easy and quick change of scenery, and also adding to the magical, dreamlike atmosphere of the production. For in dreams scenes change without warning, and people move from one place to another often without effort. Of course, this also helps keep the production moving at a brisk pace, for this performance is done without intermission, a breezy ninety minutes or so. The original scenic concept was done by Jeanine A. Ringer, and the costume design by Angela Balogh Calin. The production was directed by Geoff Elliott and Julia Rodriguez-Elliott. In addition to the actors already mentioned, this production features Kasey Mahaffy as Mr. Cratchit, Emily Kosloski as Mrs. Cratchit, Rafael Goldenstein as Fred, Sydney A Mason as Fred’s Wife, Roshni Shukla as Belle, Gioya Tuma-Waku as Martha Cratchit, Darius De La Cruz as Peter Cratchit, and Aarush Mehta as Tiny Tim (he celebrated his birthday at the end of today’s performance). Stella Bullock, Amalia “Molly” Morris, Kwayi Grimstad Ndjamen and Clara Duffy play the other Cratchit children.
This production runs through December 23rd, and there are both matinee and evening performances between now and then, including two performances on both December 22nd and December 23rd. Check the official website for A Noise Within for the complete schedule. And be prepared to show your vaccination card upon entering the theatre.
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