Review: No stinginess in enjoyment at Goodman’s ‘A Christmas Carol’

Name a mean, stingy character in literature. Go ahead; I’ll wait.

Even if you missed seeing the subject of this review, there are few of us who wouldn’t at once say Ebenezer Scrooge, the antagonist – and eventual hero – of Charles Dickens’ 1843 novella, “A Christmas Carol.” Chicago’s Goodman Theatre production of the play has been a tradition for many families who get into the holiday spirit by seeing Scrooge transition from humbug to humble.

While I’ve viewed many film and stage adaptations of this classic tale over the years, I hadn’t made it to the Goodman until earlier this month. I clearly didn’t know what I was missing, because under the direction of Jessica Thebus, every aspect of the Goodman’s “A Christmas Carol” tickled the Dickens out of me.

Let’s start with Larry Yando, the actor who knows Scrooge inside and out, having portrayed the character in 13 previous Goodman productions of the play. In this adaptation by Tom Creamer, Yando’s Scrooge is definitely miserly, scowling at his assistant, Bob Cratchit (a sympathetically meek Thomas J. Cox), when he tries to sneak coal into the stove to provide some warmth for the office, and yelling, “I wish to be left alone!” at two business people seeking donations for the poor.

But we also see a touch of humor appearing from Scrooge, long before his ghostly visits are over. For example, this production is the first where I’ve seen Scrooge offer any money to those two business people on their first visit, although he explains that it’s not exactly a no-strings-attached gift, as he calculates: “10 pounds at 18% per annum; weekly payments to begin immediately.”

While this isn’t technically a musical, there are some wonderfully talented singers in the cast who get the chance to show their vocal skills. I was especially moved by Bethany Thomas as the Ghost of Christmas Present as she supplies a melodic blessing for the Cratchit family. The addition on stage of a narrator (Andrew White) and four instrumentalists, all appropriately costumed for the scenes in which they appear, is also a nice differentiator. Whether playing a guitar, accordion, concertina, flute, piccolo, whistle or even French horn, these musicians – including music director Malcolm Ruhl and fiddle player Gregory Hirte – enhance each scene in which they’re on stage.

Those impressed by special effects (including me, I admit) particularly will enjoy the way Marley’s ghost (Kareem Bandealy) is introduced (hint: no Sleep Number bed ever moved quite this quickly), and the method used by the Ghost of Christmas Past (Lucky Stiff) to travel with Scrooge to scenes of Ebenezer’s childhood and young adult years. At the opposite end of the special effects spectrum, I liked the simplicity of how cast members brought a lighthouse, ship and house through the mist during one of the Christmas Present scenes.

I also appreciated the diversity in casting choices by Lauren Port and Rachael Jimenez. The Cratchit family represents a variety of races, for instance, and there is no Mr. Fezziwig in this version of the story. Scrooge is instead apprenticed as a young man to Mrs. Maud Fezziwig (a joy-filled boss played by Cindy Gold), who has Alice Fezziwig (Penelope Walker) as the love of her life. There’s also no nephew Fred here; it’s a loving niece, Frida (Dee Dee Batteast), whose invitation to Scrooge to join her friends and family for Christmas dinner is initially rejected.

Kudos also to set designer Todd Rosenthal. Scrooge’s tall home gives the apt impression of the small person Scrooge has been. The two-story set used for the Scrooge & Marley offices allows for some action to take place (e.g., Frida playfully putting plenty of coal in that stove) while Scrooge is too far away to prevent it.

Long story short, “A Christmas Carol” may be based on a 178-year-old novella, but the Goodman production feels as contemporary and enjoyable as any I’ve seen. Don’t just sing Christmas carols this season – be moved by one.

[Theater’s protocols: Proof of vaccination (14 days after second dose for ages 12+; 14 days after first dose for children 5-11) with an FDA or WHO-authorized vaccine is required for all attendees. For unvaccinated children younger than 12 and other exceptions, a recent negative COVID-19 test is allowed. Masks are always required while inside the theater.]

• Paul Lockwood is an enthusiastic singer, local theater actor (including two past Woodstock productions of “A Christmas Carol”), Grace Lutheran Church (Woodstock) and Toastmasters member, occasional theater reviewer, columnist, and past president of TownSquare Players.

IF YOU GO

WHAT: “A Christmas Carol”

WHERE: Goodman Theatre, 170 N. Dearborn St., Chicago

WHEN: Through Dec. 31

COST: $25 to $141

INFORMATION: 312-443-3800, GoodmanTheatre.org/Carol