I was dreading my hundredth viewing of "A Christmas Carol," but Nevada Conservatory's production proves there's plenty of magic left in the old chestnut.
Brad Carroll directs David H. Bell's adaptation of Charles Dickens' tale with an original blithe and bouncy vision. Although Carroll remains faithful to this story about Scrooge and his redemption, we feel as if we're watching a new play.
We all know, for example, that four ghosts are going to show up. But Carroll's version of them (as well as the method of their entrances) surprises us. When the Ghost of Christmas Future points to Scrooge's tombstone, it's something out of a Tim Burton nightmare.
Dana Moran Williams' set places us in what looks like the middle of the Industrial Revolution: tall, red-brick chimneylike towers, cold warehouse windows, and a foreboding walk bridge. Marihan Mehelba's light design somehow makes poetry of all that. Add Ashleigh T. Poteat's alternately colorful and somber costumes and you have a visually stunning spectacle.
Kids likely will love the broad movement and designs, but, luckily, Carroll doesn't allow the desserts to upstage the main course. He keeps us focused on the characters. The 21-member cast shows unusual polish, and even the children avoid the trappings of cuteness.
Union actor Clarence Gilyard as Scrooge has a tough go in the early scenes because his nastiness is monotonous. But once he begins his journey of redemption, Gilyard gets at the little-boy-lost wonder of his character. He seems genuinely amazed by his experiences. And when he finally "gets it" -- when he becomes human -- you can feel the new lightness in spirit. It's as if his sudden loss of greed has lifted a huge weight from his soul.
It's unfortunate that a few of the roles are double and triple cast. Some of the actors have too distinct a physical and/or vocal presence to get away with that. And the accents are too sloppy to not notice.
But this show does what "A Christmas Carol" is supposed to do. It leaves you with a sense of goodwill and an appreciation for what good theater story-telling is all about.
Anthony Del Valle can be reached at DelValle@aol.com. You can write him c/o Las Vegas Review-Journal, P.O. Box 70, Las Vegas, NV 89125.
RSS