The timeless tale of a miserly old moneylender returned to Milwaukee’s historic Pabst Theater in November, to the delight of large crowds who are coming to experience this Victorian-era show within a Victorian-era theater. A Christmas Carol returns in full force after its two-year absence during the start of the pandemic, and its reboot in 2021. This is the production’s 47th year by the Milwaukee Repertory Theater.
Although the show may appear similar to last year’s, one major change is the actor who plays the show’s main character, Ebeneezer Scrooge. This year, the prized role goes to well-known local actor Matt Daniels. It’s clear from the start that Daniels is going to make the most of this opportunity. He expresses his emotions through exaggerated facial gestures and physical movements that can be easily understood by those sitting in the orchestra, as well as those in the second balcony.
Daniels is first seen as the character of Charles Dickens. With a long beard and wearing a gentleman’s outfit from the period (costumes by Alexander B. Tecoma), he opens a book and begins telling the classic story. He notes that Marley, Scrooge’s partner, has been “dead as a doornail” (a phrase coined by Dickens) for the past seven years. He glares into the audience and pronounces, “there must be no doubt about that!” Then, without saying another word, Daniels disappears behind a small screen placed onstage.
Within a few moments (covered by the onstage patter of other “gentlemen” from this period), Daniels emerges as the imposing presence of Scrooge. Simultaneously, the curtain rises and dozens of actors begin to sing a round of “God Rest Ye, Merry Gentlemen.”
The actors use only sparse props, but they are more than compensated for by an enormous set that has been part of this production for a number of years. It dwarfs the actors and takes on almost an identity in itself.
In the play’s beginning, upstairs lights on this hulking set twinkle gaily from dozens of attached buildings. But then the set begins to move (on a double revolve) and continues to move through the performance. This eliminates much of the tromping on and off the stage that large casts usually face during crowd scenes and production numbers. Instead, many characters are “swallowed up” by sections of the set at the conclusion of one of these scenes. It is an efficient and clever way to move from one location to another. As a result, under Artistic Director Mark Clements’ outstanding contribution, the show takes on an almost cinematic quality.
Returning to Daniels, his height makes Scrooge all the more imposing. Scrooge walks through the town square to his dimly-lit counting house, where one candle and a small fire must illuminate the surroundings. Scrooge takes out his frustration on his loyal clerk, Bob Cratchit (an accommodating Reese Madigan).
Scrooge seems to be popular this day, as his work in interrupted by well-meaning townsfolk asking for money to support the poor, and then, by Scrooge’s nephew, Fred. Actor Jordon Anthony Arredondo is effective as a young, invigorating Fred who appears to invite his uncle to Christmas dinner. Daniels brushes off his nephew’s offer much the same way he shoos off the solicitors. Scrooge almost considers himself victimized by these “do-gooders” who he wishes would leave him alone.
Everything changes when Scrooge arrives at home. Through a bit of stage magic (by lighting designer Jeff Nellis), the door knocker suddenly becomes an image of Marley’s face. This Scrooge is clearly taken aback at this, but he presses on.
When Marley’s ghost appears to Scrooge later that evening, becomes a terrifying confrontation. At first, Scrooge discounts Marley’s validity as possibly “a bit of undigested beef.” The insistent Marley (played with enough drama by Mark Corkins to unsettle younger audience members) becomes a more ferocious ghost.
Although Scrooge would rather bid goodnight to this ghost and get some rest, Marley has other ideas. In order to get his message across, Marley tells Scrooge that he is to be visited by three more ghosts. Then it’s time for Marley to disappear into the fog. Soon, Scrooge is greeted by the first ghost, then the second and, finally, a third spirit. The first and second ghosts are ably represented by Tami Workentin and Todd Denning, and their ethereal presence is greatly enhanced by their stunning costumes.
As Scrooge confronts the present and past images of the holiday season, he comes across his former employer, Fezziwig (played with gleeful charm by James Pickering) and Mrs. Fezziwig (the equally charismatic Carrie Hitchcock, who also plays Mrs. Dilber). Their holiday staff party is a highlight, thanks in great part to original music by John Tanner, music director Dan Kazemi and sound designer Barry G. Funderburg.
Elsewhere, Scrooge observes the threadbare surroundings of his clerk’s house, where Mrs. Cratchit (Rána Roman) and her husband live with a gaggle of children. Tiny Tim (played by Lainey Techtmann, in a boy’s part that is often played by a girl) is transported home on his father’s shoulder. Following the usual discussion about the small size of their holiday bird and Mrs. Cratchit’s unwillingness to toast good health to Mr. Scrooge, Tiny Tim sings a lovely solo that is sure to touch people’s hearts.
At certain points in the story, characters engage the audience to “direct” them in what to do next. The sequences are a hit, especially among youngsters in the audience.
There are many touching moments to come in this colorful story. But none is more agreeable than Scrooge’s eventual transformation. Daniels is ebullient in the extreme as he prances around his bedroom, frolics in the streets and, finally, meets Fred’s wife in church. The characters, numbering nearly 40 (including a large contingent of children), stride onto the set to finish tidbits of the story. The production ends with an audience sing-along to “Joy to the World.”
