Charles Dickens’ A Christmas Carol, the author’s celebrated tale of a wretched skinflint named Ebenezer Scrooge who finds lifesaving redemption with help from a bevy of ghostly apparitions on a fateful Christmas Eve in mid-19th century London, has returned for his attitude adjustment.
Only this time, the makeover is filled with song and dance. The version at the Wick Theatre in Boca Raton is a dynamic musical adaptation of Dickens’ original novella. The production, told in a single act split into multiple scenes, is drawn from a book by Mike Ockrent and Lynn Ahrens. It features a dozen delightful songs by master composers Ahrens and Alan Menken.
The audience will see in Wick’s second show of the season a music-charged, dance-enhanced, Broadway-style version of the author’s initially chilling tale of redemption. A contingent of kids and other folk ramp up the whimsy to make the story – and Scrooge — merry and bright.
“Experience the magic of the holidays like never before,” said Marilynn A. Wick, executive managing producer. “Our production of A Christmas Carol is a monumental achievement, with one of our largest casts ever, including an abundance of child performers who will steal your heart. This is the perfect show for the entire family—filled with hope, joy and love.”
The play is directed by Christopher Michaels, who is making his Wick Theatre debut. Adept musical director Bobby Peaco accompanies the cast. And choreographer Ralph Meitzler entices impressive footwork from his performers garbed in colorful outfits. Some costumes look like they came from the produce aisle.
Michaels used his stage savvy to assemble a delightful cast of talented adults and young people who give their all to help Scrooge jump from humbuggery to liberality. Ghostly visitors and a spirit-led journey from Scrooge’s childhood into the present and possible future show how a tough young life turned his heart to stone. Their efforts now begin to undo his bad self and revive his amiability.
Plaudits to an amazing tech crew for creating an assemblage of well-wrought sets that can be moved as scenes change. The audience is whisked from the gloom of Scrooge’s abode to colorful fun spots, various London locations and places Scrooge inhabited in boyhood – in particular, Fezziwig’s annual Christmas party where the popular Wick acting duo of Troy Stanley as Fezziwig and Britte Hammeke, formerly Britte Steele, as Mrs. Fezziwig keep the merriment alive.
Worthy of much note is production designer Kimberly Wick who enticed set designer Evan Frank and director Michaels to craft the move-about sets. She also fabricated terrific costumes.
Chris Edwards is top-notch as the slightly ornery but sort of kindly Ebenezer Scrooge. Brandon Campbell is appropriately meek, kindly and considerate as Scrooge’s clerk, Bob Cratchet. Issa Gonzales and Arslen Shamsutdinov – who alternate as Tiny Tim – turn scene-stealing into an art form.
An outstanding supporting cast rounds out the production.
The story of Scrooge and his ghost-driven makeover is known to virtually all. Of course, he first encounters the ghost of his late partner Jacob Marley (Larry Buzzeo), bound in chains, who warns Scrooge of the upcoming visits from a ghostly trio. In this show, Marley’s song “Link by Link” is accompanied by singing, dancing spirits in a special effects-filled scene.
The Ghost of Christmas Past (Dru Loman) quietly begins the journey, shedding light on Scrooge’s distressing childhood to initiate the process of returning the old skinflint to his once-positive existence. (“The Lights of Long Ago”).
