What does a regional theater do to avoid offering again A Christmas Carol as its classic theater piece during end-of-year holidays? Probably it will offer some alternative based on a contemporary popular story, modern seasonal classic, well-known holiday song or movie, or even some dredged-up foreign Yuletide celebration. At freeFall Theatre, all of these prove useful. Since the show begins on a set for A Christmas Carol, and someone playing someone like Charles Dickens starts narrating, there’s suspense over will it continue and, if so, how and when? If there’s to be a central dramatic conflict, it’s between Michael Ursua’s traditional actor of Dickens plus Scrooge and two actors who don’t want to play ghosts. As the freeFall thrust stage “set” goes from scattered tombstones and casket in front of a projected traditional 19th century London street, so do the three actors into comedic spins on more modern seasonal fare. Sara DelBeato, substantial in body and voice, abandons her decades-old role as a long-incongruous Tiny Tim. Then versatile Dexter Jones ceases to be Bob Cratchit or anyone’s relations. Michael Ursua helps direct audience attention to where, how, why he and the others move into different celebrations of Christmas, without missing Chanukah and Kwanzaa. The Christmas stories include that of Sara’s “Gustav the Green-Nosed Reindeer” danced by Dexter who also plays a special “skinny” part in Santa’s workshop. Skits included are of Icelandic and Australian feasts, a “Fruit Cake-a-Go-Go”, a dedication to St. Nicholas of Myra, a famous NYC parade. Two more are based on literary stories, one Welsh (funnily mistitled), one American (using gigantic wig and clock props). There’s also a musical medley. After a too-long Act I with sometimes forced content, a second act cleverly unites two added, totally relevant Christmas presentations. As usual, Sara and Dexter achieve their best in multiple roles while Michael grounds the proceedings. These answer the mystery posed in paragraph 2 above. Director Patrick Ryan Sullivan warrants credit for the hurried, sometimes harried proceedings coming off smoothly. He’s cast actors cheerfully up to their difficult job. All benefit from a syncopated technical team that I’ve found typical at freeFall Theater.
