WHAT: A Christmas Carol
WHERE: Rochester Opera House
BLURB: Classic Holiday Fare
HIGH POINT: Some Wonderful Performances
This is a right-fine production of Christmas Carol, the perfect uplifting family fare, with just the right measure of fun, scary, inspiration and reward - "there is no doubt whatever, about that," - to steal a quote.
Okay, it's said there are individuals who have never experienced a production of this tale drawn from the Charles Dickens Victorian novella, and so a quick recap.
It is a holiday classic written in a time when spooky stories were the traditional Christmas Eve entertainment, and is therefore a ghost tale.
Ebenezer Scrooge is a miserable, miserly businessman who is gifted three ghostly visitations by Marley, his deceased former business partner, who visits him on Christmas Eve.
The specters Past, Present and Future, take Scrooge through their individual realms showing him the error of his ways and offering him a last chance for salvation before he is doomed to the tormenting afterlife Marley is trapped in.
This musical production, with book and lyrics by Chris Blackwood and music by Piers Chater Robinson, features some lovely tunes, which are always well delivered whether by a sole voice or sung by the nearly three-dozen strong cast.
Overall the performances range from solid to impressive, with most performing multiple roles. Though opening night had a couple of bumps, and a few actors leaning into stagey, there's just a lot of great going on here.
Robert Marcus's Scrooge is as cranky as the old man should be. There are moments (opening night) he appears less than comfortable in the role, but those are well balanced by his perfectly landing the hardest scenes, such as the "giddy" morning after. This pivoted scene, so often rendered tepid or foolish, is thoroughly believable, moving and truly fun. In addition Marcus's pleasant, mature singing voice is a perfect fit for the character.
Now for some of the exemplary performances: All the ghosts, Sydney Weiser as Past, Kevin Mahaney as Present, and Jay Glover as Marley are captivating.
Weiser and Glover are wonderful new additions to the seacoast. Both offer beautifully colored, authentic performances, and assured, delightful voices. Here's hoping they'll stick around.
Mahaney's Present is honest, warm and everything this captivating, larger-than-life character should be.
Then there's Mahaney's humorous turn handling a few of the tale's classic scenes in partnership with Chris Bradley (solicitors/businessmen). It's a comedic dream team to be sure! These two actors offer some of the play's brightest moments - sweet perfection.
Patrick Dorow offers a respectable Cratchit and Harper Solomon is a thoroughly charming Tiny Tim in every way.
Sam Bennett, Katie Gall, Caldwell Lowell, Chelsea Herman and Amanda Dane offer well-grounded performances.
Opening night the show was still in need of smoothing some edges. There was nothing outstandingly wrong, largely just flashes of a performer "acting," or a disjointed scene.
That said, the ensemble really has it together, smooth, and blessed with a rich voice, whether sung by a few or the entire lot.
Overall Jenry Towle's direction and choreography play to the space and performers' strengths. The show is also well-staged. Most of the characters are well devised, though it's hard to tell if some of the overreach is performance or direction based.
Towel's choreography is well suited to its scenes and set/space, though the choice of style for the Marley haunting appears at odds with its mood.
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