Review: CHARLES DICKENS WRITES A CHRISTMAS CAROL at Revolution Stage Company

Every year in Chicago, The Goodman Theatre would mount a “new imagining” of A Christmas Carol because it’s actually a novella, not a play; it needs to be adapted into a play every time it is mounted (cue NBC “the more you know” graphic). The Goodman has a huge stage, and each production had a huge party, with a multitude of actors, magnificent costumes, and inspired sets. We especially looked forward to (spoiler alert!) the three ghosts.

Charles Dickens Writes a Christmas Carol, adapted by Scott Palmer, is a new telling of the old tale that is delightfully stingy on the casting with a mere seven actor/singers stretching their chops as multiple characters. Directed by Laura Stearns, who is also Revolution Stage Company’s production coordinator, the adaptation takes a humorous look at a writer’s journey in storytelling with the assist of his “muses” nudging him forward until the telling takes on its own life. Charles Dickens Writes A Christmas Carol at the new Revolution Stage Company is filled with humor, good cheer, and solid production values.

Producing partner James Owens plays author Dickens and does a great job capturing a writer’s journey, from the need to perfect the first line, down to his “muses” taking surprising (especially to him) turns. His Dickens is aristocratic with a sly wryness just underneath. When his characters are fully formed, he allows them to take on the action in Dickens’s own words. It’s a very fun, slightly exasperated portrayal by Owens. 

Prior to the story blossoming and finally telling itself, the “muses” get quite frustrated with the process and try on new things. For example: Ebenezer’s nephew Fred (the very watchable Samuel Neal Moffatt) shows up out of the blue, stopping everyone in their tracks, as the yet-to-be-formed character explains he “got bored waiting”. As any storyteller will agree, this is highly accurate. Theatre-goers will tell you, it makes for a very amusing set-up. (Some of you may recall the terrific Stranger Than Fiction, the 2006 film that explores the concept in depth, and the only film where I can stomach Will Ferrell.)

Heightening the comedy, all of the characters occasionally zone out on stage resulting in some hustle on their parts to give Dickens some delightful “improvisation” from his written words. Dickens himself causes some side-eye in naming his characters, as well as when he consistently insults the ladies with the use of a particular word. It’s all very funny, heady, adult-y stuff. And by that, I don’t mean it’s ribald, I mean it’s smart.  

Before we get to the rest of the cast, let’s talk about the technicals. Stearn’s steampunk vision came to life through her terrific set, with its old clocks and gears and dark furniture lit to perfection by lighting guru Mariah Pryor. Kudra Wagner’s props were just as inspired as the set, and wow, wow, wow to Emma Bibo’s costumes. Her color scheme matched with her attention to detail (all of the female characters wore steampunk leggings) and, for me, in particular, her inspired Ghost of Christmas Present costume was spot-on to Stearn’s set. Add in Lynda Shaeps wigs and make-up, and last but certainly not least, the projections that take us into Scrooge’s dream state - an otherworldly place, and you’ve got a very well-conceived, well-executed and delightful production.

Okay, let’s talk about the cast. All of them have great provenance - and their degrees and experience are fully evident on that stage. Most of them I’ve never seen before, so it was an absolute delight for me to be introduced to their talent. Let’s do a role call straight from the program: 

Eliza Faloona: Muse, Caroler, Fan, Belle, Martha, Mrs. Fred, and Want - Faloona hits the stage at high energy and never stops. Each characterization is a bit different than the rest, but my favorite was as a Muse. She has a very lovely soprano, and is immensely watchable.

Adam Heiter: Muse, Jacob Marley, Bob Cratchit, Mr. Belle, Topper - Heiter morphs into each character like a new face was graphically imposed upon him. Terrific ensemble work.

Heather Joy: Muse, 2nd Lady, Belle’s Daughter, Ghost of Christmas Present, Housekeeper - I did not really start tracking her until the Ghost of Christmas Present, but boy does Joy beam in that role - it’s the only word that fits. Her aura is so bright she is literally the personification of joy. That was a “wow” for me.  

Jason Mannino: Muse/Ebenezer Scrooge - Mannino fits the bill as a conflicted Scrooge who is a little less crotchety than previous Scrooges I’ve seen portrayed. It is a level performance, realistic, not over the top - and while Mannino does a nice job, it would be helpful if he slowed down during his longer recitations of Dickens’ words. Big monologues are tough to deliver in that remembering the dialogue feels like 9/10ths of the battle, but it’s not. Making them palatable for the audience is pretty high up there in the recipe. Having once played a roving Harriet Beecher Stowe at Chicago’s Museum of History, I can empathize. It’s easy to slip into rote.

Rebecca McWilliams: Muse, 1st Lady, Ghost of Christmas Past, Mrs. Cratchit, Giggling Sister-in-law, Dilber - Why I have never seen this actor/singer before I have no idea, but I want more. Each character had nuance and all were distinguishable from each other. Her Ghost of Christmas Past was delicious in words and grace; coupled with Kelly McGuire’s sound, and the media (both run by Nathan Cox) it made for an eye-popping, theatrical fever dream.   

Samuel Moffatt: Muse, Fred, Mr. Fezziwig, Peter, Want, Turkey Boy - As mentioned previously, Moffatt is highly watchable down to his smallest gesture. He knows how to “stay in the play” at all times, and adds quite a bit of humor to the production, with a lovely singing voice to boot.

James Owens: Charles Dickens - and others I don’t want to spoil. From the moment Owens gives the recorded curtain speech to the first time he speaks on stage, Owens’ Dicken’s is so well defined in speech and manner there is no mistaking the cut of his jib. Does he have an ego? Oh yes. Is he insecure? Aren’t all writers? Is he glib? So glib. Good work.

And The Ghost of Christmas Future? Dude was creepy AF. 

This is the first time I have seen Stearn direct, and I'm hoping she has opportunity to do it again. Her vision for the production was crystal clear, and her staging creative. When there was space for comedy, she used it, and the transition from writing room to play happened so subtly, we were well into it before I realized it.

From The Revolution's webpage (and I’m paraphrasing): the company’s mission is: To produce high-quality, and affordable entertainment that elevates theatre production standards; to lift up and stimulate the quality of theatre across Coachella Valley, and show audiences our theatre community is ready to become a destination for live entertainment in California.

This production checks all of those boxes. There is no humdrum nor humbug on that stage, just a delightful Christmas tale that starts with a fun concept and delivers the full shebang in the end. 

As I mentioned previously, I was around the Chicago theatre community in the late 80s and early 90s, and Revolution has the same pluck and vision as the companies in Chicago that grew from small storefronts to large houses like Steppenwolf, American Blues, and Victory Gardens - all presenting socially relevant and, most often, wildly creative new works. Revolution skipped the physical growing pains and is starting out with a state-of-the-art theatre. Keep your eye out for them. I’m expecting some great work from this company, and am looking forward to seeing their version of Avenue Q next year. 

As for this production: It’s a great reframing of an old classic that’ll give you a giggle while putting you in the holiday spirit. Speaking of holiday spirits: full bar, and fresh-made caramel corn.

Revolution Stage Company, 611 S. Palm Canyon Drive, Palm Springs, CA 92264

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