Displaying items by tag: Ebenezer Scrooge

At Theater Wit, a Jeff Award–winning solo performance reimagines Charles Dickens with both comic absurdity and aching humanity. The great author, improbably alive more than two centuries after his birth, finds himself trapped in a ritual that has long outlived him: the annual retelling of A Christmas Carol. Since 1853, every December has brought another booking, another stage bathed in candlelight, another weary summoning of Scrooge, Marley, and Tiny Tim from memory.

What begins as a familiar recital becomes something stranger and more profound - a meditation on endurance, tradition, and the peculiar perpetuity of a single story. Dickens wrestles with the paradox of being eternally tethered to the story that won him immortality, even as time has turned him into a monument of his own making. What emerges is a portrait both tender and askew - an unexpectedly poignant glimpse of an artist suspended between legacy and fatigue, reverence and ridicule, comedy and elegy.

Under the deft direction of Jonathan Berry and brought to life by the inventive artistry of Blake Montgomery - who both conceived and performs the piece - we are treated to a holiday experience unlike any other. Charles Dickens Begrudgingly Performs “A Christmas Carol” Again transforms the familiar into the fantastically strange, as the enduring author himself returns to the stage with equal parts reluctance and wit. What might have been a simple seasonal retelling becomes a singular theatrical event: a blend of satire, intimacy, and absurdity that reimagines Dickens not as a distant literary figure, but as a weary performer bound to his own timeless creation.

Montgomery’s embodiment of Charles Dickens is nothing short of spellbinding. With remarkable nuance, he breathes new life into the familiar literary icon, reshaping Dickens into a figure at once startlingly fresh and profoundly compelling. What might have been a mere impersonation becomes instead a vivid act of re‑creation - an imaginative dialogue between past and present. Alone on stage, Montgomery commands the space with unyielding energy and precision, shifting seamlessly between wit, gravitas, and emotional depth. His performance is not simply a portrayal, but a tour de force that redefines what a one‑person show can achieve: intimate yet grand, inventive yet faithful, and utterly captivating from start to finish. With its inventive premise and captivating performance, Charles Dickens Begrudgingly Performs “A Christmas Carol” Again stands out as one of the season’s most unique and rewarding theatrical offerings.

Stepping into the role of Dickens, Montgomery slyly nods to Goodman’s grand-scale A Christmas Carol - though he never names the theatre outright, instead referring to it as “that large production downtown with all the smoke, flying spirits, and special effects.” By invoking this spectacle without directly tethering himself to it, he cleverly sets the stage for contrast. His aim is clear: to remind the audience that imagination, not machinery, is the true engine of storytelling.

What follows is a masterclass in restraint and invention. Against the backdrop of a spare set, Montgomery’s performance brims with detail and nuance. His voice, gestures, and timing conjure entire worlds, allowing the audience to paint the scenes in their own minds. The absence of technical wizardry becomes a strength, sharpening our focus on the craft itself. I found myself swept into vivid mental landscapes - fog curling through London streets, spirits shimmering in the dark - summoned not by stage trickery but by the sheer force of Montgomery’s storytelling.

The result is a kind of theatrical alchemy: a performance that proves simplicity can be just as transporting as spectacle, and that Dickens’s timeless tale thrives as much in the imagination as it does under the glow of stage lights.

Dickens Again (for short) is truly a magical experience.

Arrive early! The festivities begin before the curtain rises, as Dickens himself roams the aisles, playfully engaging with audience members and filling the theater with holiday cheer to set the perfect Christmas mood.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again has firmly established itself as a beloved Chicago holiday tradition. Since 2011, Blake Montgomery has stepped into the role of Dickens, delighting audiences year after year with a performance that blends humor, heart, and timeless storytelling—warming spirits and cementing the show’s place in the city’s festive season.

This production comes from Clownshow, a boldly imaginative company dedicated to crafting live theatrical events from concept through performance. At the helm is Producing Artistic Director Blake Montgomery, whose vision drives the company’s inventive approach to storytelling.

Charles Dickens Begrudgingly Performs “A Christmas Carol” Again is being performed at Theater With through December 28^th. For tickets and/or more show information, visit https://www.dickensagain.com/.

Goodman Theatre’s 2025 production of A Christmas Carol delivers a reimagined yet reverently faithful vision of Charles Dickens’ enduring holiday masterpiece. Directed by BOLD Artistic Producer Malkia Stampley, the staging infuses fresh energy into the familiar tale, striking a delicate balance between honoring tradition and embracing innovation.

Charles Dickens’ A Christmas Carol follows Ebenezer Scrooge, a cold-hearted miser who scorns Christmas and human kindness. On Christmas Eve, he is confronted by the ghost of his former partner, Jacob Marley, and guided by three spectral visitors - the Ghosts of Christmas Past, Present, and Yet to Come. Their haunting revelations force Scrooge to witness his own failings, the hardships of others, and the bleak destiny awaiting him. Awakened to the power of compassion and generosity, he greets Christmas morning as a transformed man - joyful, benevolent, and fully embracing the spirit of the season.

At the center of this transformation is Christopher Donahue, returning to the role of Ebenezer Scrooge with a performance that brims with nuance. Donahue embodies the character’s frosty detachment and biting cynicism with precision, while gradually revealing the vulnerability and humanity that make Scrooge’s redemption so powerful. His portrayal anchors the production, ensuring that audiences experience not only the spectacle of Dickens’ ghosts and festive scenes, but also the emotional depth of one man’s journey from isolation to generosity.

Surrounding him is an ensemble that blends the wisdom of seasoned Goodman veterans with the energy of exciting newcomers, forging a dynamic interplay that keeps the production alive and ever-evolving. Their chemistry, paired with imaginative staging and subtle special effects, ensures that longtime patrons experience the story anew while first-time audiences are swept into its magic.

Beyond the performances, the production dazzles with fresh choreography, inventive musical direction, revitalized design elements and special effects that elevate the performance. The stage becomes a canvas of contrasts: the eerie, otherworldly visitations of Marley and the Ghosts unfold with haunting theatricality, while the warmth and intimacy of the Cratchit household radiate joy and tenderness.

Every moment is meticulously layered with detail, reminding us that Dickens’ tale is more than a seasonal tradition—it is a living parable of generosity, compassion, and the enduring bonds of community.

(L-R) Jon Hudson Odom, Ella Boparai, Carmelo Kelly, Viva Boresi, Bethany Thomas, A’mia Imani, Henry Lombardo, Sól Fuller and Helen Joo Lee.

For close to fifty years, Goodman Theatre’s A Christmas Carol has stood as a defining ritual of Chicago’s holiday season—a theatrical gathering place where generations of families, friends, and theatergoers return year after year. More than just a retelling of Dickens’ classic, the production has become a civic tradition, woven into the fabric of the city’s winter celebrations.

This year’s staging carries that legacy forward with renewed vitality, reminding audiences why the story continues to resonate across centuries. At its core, A Christmas Carol is not simply the tale of Ebenezer Scrooge’s redemption; it is a parable about the power of empathy, generosity, and human connection. Goodman’s production magnifies those themes by transforming the theatre itself into a communal space - where laughter, music, and the haunting presence of Dickens’ ghosts converge to awaken the spirit of compassion.

The endurance of this holiday cornerstone lies in its dual nature: it is both deeply personal, charting one man’s journey from isolation to belonging, and profoundly collective, celebrating the bonds that unite a community. Each performance becomes a reminder that the true gift of the season is not material wealth, but the shared warmth of kindness and fellowship.

The cast assembled for Goodman Theatre’s A Christmas Carol is nothing short of outstanding. Christopher Donahue, stepping into the role of Ebenezer Scrooge after Larry Yando’s celebrated tenure, delivers a performance that is both commanding and deeply human. His portrayal captures the character’s sharp edges and biting cynicism, yet gradually reveals the warmth and vulnerability that make Scrooge’s transformation so moving - you can’t help but be won over by him. Donahue was nothing short of electrifying, also bringing a masterful sense of graceful physical comedy to the role. He embodied the rakish, childlike exuberance and sheer JOY that floods Scrooge when he discovers it’s not too late to transform his life.

One of the evening’s biggest laughs came as Donahue realized that only a single night had passed with the spirits—despite their showing him years of missteps and warning that he must change his ways immediately or face a hated death and generations of sorrow. The audience roared, and I’ve never heard such sustained laughter in this production before. It was pure delight.

Ella Boparai brings a radiant charm to Tiny Tim, embodying the innocence and hope that anchor the story’s emotional core. The ensemble as a whole is vibrant and cohesive, each member contributing to the production’s energy and richness.

Among the spirits, Bethany Thomas shines with grandeur and generosity as the Ghost of Christmas Present, while Daniel José Molina delivers a chilling, spectral presence as the Ghost of Christmas Future. Lucky Stiff rounds out the trio with a compelling and evocative Ghost of Christmas Past, guiding Scrooge through memories with both tenderness and gravity.

 (L-R) Christopher Donahue and Daniel José Molina.

Jon Hudson Odom brings remarkable depth to Bob Cratchit, embodying Dickens’ humble clerk with a warmth and sincerity that make him the beating heart of the production. His performance captures Cratchit’s quiet resilience and steadfast kindness, elevating the role from supporting character to emotional cornerstone. Odom’s nuanced portrayal balances gentle humor with the weight of hardship, reflecting the struggles of working families while never losing sight of Cratchit’s unwavering optimism.

In scenes with the Cratchit family, Odom radiates tenderness and devotion, particularly in his interactions with Tiny Tim. The father-son bond he conveys is both poignant and inspiring, a reminder of the fragile yet enduring hope that sustains the family through adversity. His presence underscores the stark contrast between Scrooge’s cold isolation and the Cratchits’ warmth, amplifying the play’s central themes of compassion, perseverance, and the transformative power of love.

Together, this company breathes fresh life into Dickens’ timeless tale, ensuring that every scene resonates with theatrical magic and emotional depth.

I wholeheartedly encourage audiences to experience this beloved Goodman holiday tradition - an annual production that never fails to capture the true spirit of the season. For anyone eager to embrace the warmth, wonder, and festive magic of Christmastime, A Christmas Carol at Goodman Theatre is the perfect way to step into the holiday “spirit.”

A Christmas Carol is being performed at Goodman Theatre through December 31^st. For tickets and/or more show information, visit https://www.goodmantheatre.org/show/a-christmas-carol/.

Charles Dickens wrote A CHRISTMAS CAROL in December 1843, and by February 1844 London stages were mounting productions of the work. A CHRISTMAS CAROL is a classic, encompassing all those things we say about ‘classics’: it is iconic and traditional; it’s popular and precious (I’m flashing on Gollum as Jacob Marley’s ghost) as well as familiar, universal, standard…. In other words, I doubt there’s anyone reading this review who needs the plot described or its message debated.

And surely nobody in this ol’ town need ask: “Where is A CHRISTMAS CAROL playing?” The Goodman Theatre has staged this show annually for forty-five years, and Larry Yando has played Ebenezer Scrooge for the past 15 of those. Traditional and familiar indeed! I’ll warrant Goodman’s new Artistic Director Susan Booth had a few opening-night jitters about how Chicago would respond to her management of this solemn custom; she could get sympathy from Jessica Thebus – this is only the third holiday season she’s been its Director. But I’d say both can rest in heavenly peace – A CHRISTMAS CAROL totally works.

I’m an habitue of the tiny street front theatres in Lakeview and Edgewater, so for me it was an adventure simply perusing the program – in Playbill! rather than skulking behind a QR code icon. I often see a Fight Director in the production staff, but Andrea Gentry’s role as Flight Director is a new one on me. She did it brilliantly with the airborne Ghost of Christmas Past (Lucky Stiff), who flew covered in spangles and wearing a glowing crescent moon crown. Goodman Theatre has made prolific use of modern technology and staging techniques to bring us a truly awe-inspiring production. The sets (Todd Rosenthal) were ingenious, from the homely Cratchit family kitchen to fantastical trips through the sky, all accentuated by Keith Parham’s masterful lighting. And the sound! Choralists frequently appeared singing carols in assorted languages, often accompanied by ensembles including French horn, flute, concertina, accordion, guitar and fiddle. The sound design as a whole was wrought by Richard Woodbury and Pornchanok Kanchanabanca and directed by Malcolm Ruhl. Composer Andrew Hansen provided lovely originals for the occasion. The highest compliment I can pay them is to say I often didn’t hear the soundtrack, but I felt it throughout.

The show opened with Rika Nishikawa singing a Ukrainian carol, “Siva Zozulenka”, whose lyrics speak of a bird offering blessings and peace—a felicitous prayer for the holiday season in beleaguered Ukraine. This acknowledgement of the chaos devastating our world was as appropriate as it was appreciated.

So … alright, already. I could go on devising ways to make lists of names and titles reasonably coherent and interesting, utilizing gigabytes of characters and multitudinous synonyms for ‘fantastic’, but why? You can find all that information in the reviews from the major newspapers. I concur with their judgments of the show’s quality: it was truly spectacular. But why should I reiterate all that? Suffice it to say the production was marvelous, from the steadfast brilliance of the crew to the superb performance by every single member of the cast. Truly a magnificent work … do see it! But for now, I have some other thoughts I’d like to discuss.

Let’s start with appearances. Goodman Theatre is apparently taking the idea of inclusion seriously; the diversity in race, color, nationality, gender, and body type was remarkable. It was not, however, always congruent with the story. For example: I heartily celebrate casting an African American Tiny Tim, and Christian Lucas was terrific, up to and including “God bless us, everyone!”. But I found it jarring to see him surrounded by the totally white bread Cratchit family. Nobody knows just what affliction caused his lameness (polio? rickets?) – are we to believe this arcane ailment also produces cutaneous hyper-melanation?

And as one who’s spent a lifetime battling love of food and sedentary habits, I applaud the inclusion of cast members who don’t conform to the Barbie ideal of feminine habitus… but weren’t some of those characters supposed to be tubercular? These dissonances tend to make the casting appear motivated more by diplomacy than thematic consonance. There’s a fine line between celebrating diversity and being PC.  We each define that line’s position individually, and we all feel a twitch when venturing too close to that line. I twitched a bit during A CHRISTMAS CAROL.

(L-R) Daniel José Molinaand Amira Danan in Goodman Theatre's 'A Christmas Carol'

Dickens wrote A CHRISTMAS CAROL occurring in the present – the 1844 present. I don’t wish to cast aspersions on the aptitude of the average theatregoer for deciphering a metaphor, but you’ll notice Dickens hadn’t that sort of faith in his audience – he kept it simple, setting the action in the present as a social commentary on the present—1844.

I’d like to see Bob Cratchit’s role taken by LaToya Jones, a single mom of three who’s working at Walmart til closing on Christmas Eve and doesn’t dare ask for the day off for fear she’ll lose her job. Her meagre salary isn’t so much the issue as the benefits. Without health insurance what would become of her youngest son with cerebral palsy?  Defining the role of Ebenezer Scrooge is the real puzzle—the casting call would be humongous. Do we use her boss? Walmart’s CEO? Senator? Too many possibilities!

With these traditional productions it’s a challenge to inject something new. Larry Yando contrives to offer new (and effective!) comedic twists to his Scrooge. We saw delightful innovations from costume designer Heidi Sue McMath and mask designer Sarah Bendix. But I’m talking about a much bigger variation: how about a modern interpretation? Joffrey Ballet gave us a Chicago-based Nutcracker (and it’s brilliant!). I’m suggesting a more complex alteration, relocating the story in time as well as locale. Hundreds of playwrights have applied that sort of exegesis in adaptations of The Bard – how about Boz?

Highly Recommended.