Review: Metropolis stages reimagined ‘Christmas Carol’

Facing serious financial problems in 1843, Charles Dickens penned a novella in just six weeks. It’s never gone out of print, and everyone from the Muppets to Sir Patrick Stewart has done a version of the beloved classic, “A Christmas Carol” (subheaded “In Prose – Being a Ghost Story of Christmas”).

Well, 178 years later, get ready for another adaptation – a streamlined, very fresh one by playwright, actress and Illinois Shakespeare Festival Director Krista Scott. This reimagined and slightly different adaptation is onstage at Arlington Heights’ Metropolis Performing Arts Centre.

Co-directed by Joe Lehman and Erik Wagner, with music direction by Kenneth McMullen, this is a well-crafted and exciting production. A cast of 29 dances (vibrant choreography by Tuesdai B. Perry) on a stylistic, bold, and symbolic set designed by Jenna Houck. The proper Victorian costume-clad (designs by Vicki Jablonski) ensemble also quickly and smoothly moves the set pieces.

The beginning is simple but effective. A single lamplighter moves through frozen-in-place characters, bringing scurrying Victorian villagers, beggars, vendors and ever-present energetic children to life with a touch. (And congratulations to the Metropolis for utilizing a delightful youth ensemble and cast in this production.)

The scene quickly morphs into a scary visit by the ghost of Scrooge’s ex-partner Marley in chains, which sent a few children in the audience into parents’ protective arms. Marley is deliciously portrayed by Brenden Zwiebel, and it’s a credit to his acting, plus the sound design of Matt Kania, and atmospheric lighting by Michael Wagner, that make his Marley all the more unsettling and terrifying in his warning to Scrooge to escape Marley’s sad fate.

The entire ensemble admirably plays many roles. Yes, there are standouts: David Tibble is Bob Cratchit, Scrooge’s silent servant with a good heart; “Oh, I do love Christmas” says Jake Thomas as Fezziwig, also playing sleazy Silent Joe; Joe Moerschel’s bright and eager nephew Fred; Kelly Jacqueline as the sweet Belle and later Crachit’s daughter; and Annie Beaubien and Meghan Kessel as the recurring charity duo.

The ominous, multiple ghost appearance is not the typical presentation, and will challenge what you’ve seen in past productions. But it is clever. Elijah Cooper is a perfectly cast Tiny Tim, but in this production, Tiny Tim surprisingly doesn’t appear often enough to satisfy our expectations.

But the production truly belongs to Crystal Lake resident Steve Connell. He began his life as Scrooge 25 years ago with an Elgin production, and consequently went on to portray the miserable miser in Woodstock, St. Charles and Arlington Heights. With his height and stage presence, he is the definitive Scrooge; his voice and face register cruelty, sorrow, joy and humor. Connell is acerbic, frightening and, to quote his onstage nephew: “totally oblivious to who suffers by his ill whims,” which makes his redemption and transition all the more admirable and touching.

Of particular sympathy: Connell’s Scrooge mirroring a young Ebenezer (an emotive Ryan Michael Hamman) during Belle’s exit. His pain is mixed with disbelief as he exclaims, “Don’t let her go!” Connell’s acting prowess showcases Scrooge’s view of life with new eyes, and is both credible and joyous in reformation. You don’t like him in the beginning, but you’ll love him at the end. Connell is the anchor, and in this adaptation, carries the show.

It has to be said another star of this production is the music – the use of English songs and carols interwoven throughout scenes, beautifully sung by this ensemble. Scott’s structure of the dialogue and well-known lines also illustrate the passage of time (matched perhaps by the set’s symbols) in this exploration of greed, generosity, forgiveness and the traditional meaning of Christmas.

The Metropolis production is an engaging incarnation of warmth, humor and good cheer – proof of why 135 film versions and untold numbers of plays and opera and ballet works exist of “A Christmas Carol,” and why the word “Scrooge” is a dictionary definition. Let’s welcome the beloved holiday tale back to live theater.

[To attend the festive family favorite at the Metropolis, you must provide proof of vaccination with photo ID, and wear a mask at all times. Also be aware there are no paper programs; access is digital. The show runs two hours, with one intermission.]

• Regina Belt-Daniels first experienced “A Christmas Carol” as a long-forgotten “Mr. Magoo” cartoon, and later played Mrs. Crachit in a long-forgotten production (Christmas really past). She has appeared in and directed shows throughout Illinois, Ohio and New York, and serves on the It’s Showtime Advisory Commission and the RCLPC Theater Board.

IF YOU GO

WHAT: “A Christmas Carol”

WHERE: Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights

WHEN: Evening and matinee performances through Dec. 24

COST: $30 for adults, $15 for students; proof of vaccination, photo ID, masks required

INFORMATION: 847-577-2121, metropolisarts.com/event/a-christmas-carol