‘A CHRISTMAS CAROL’: Campbell Scott. Photo: Joan Marcus

A CHRISTMAS CAROL
By Charles Dickens
Adapted by Jack Thorne
Directed by Matthew Warchus
Through January 5, 2020
Lyceum Theatre
149 West 45th Street
(212-239-6200), www.AChristmasCarolBroadway.com

By David NouNou

Stripped of the treacle and mawkishness usually associated with Charles Dickens’ A Christmas Carol, Jack Thorne has adapted and reshaped this tale into what would now be termed an “alternate universe.” Although being a purist at heart, one who normally prefers traditional presentations, I was nonetheless fascinated and enchanted by how this story maintains most of the central characters, with slight tweaks and character modifications. Mr. Thorne’s adaptation has slightly changed the dynamics and perception of an oft-told tale, with all the fat trimmed off.

Thanks in large part to Matthew Warchus’ seamless and fast-paced direction; one doesn’t dwell on the traditional version because Jack Thorne and Mr. Warchus allow the viewer to see Dickens’ classic from a different lens. Ebenezer Scrooge (Campbell Scott) is still a miserly crotchety skinflint but due to Mr. Scott’s youthful appearance, Ebenezer now has some sex appeal. Here, Mr. Thorne inserts Ebenezer’s cruel and drunken father (Chris Hoch), to show how Ebenezer took the wrong fork in the road to become what he is today.

Scrooge here does have psychological problems and doesn’t really see the error of his ways. Scrooge is still visited by the ghost of Marley (Chris Hoch), his late lending partner. Marley warns him about the ghosts that will come to visit him after midnight, and he better change his miserly ways. The Ghost of Christmas Past (Andrea Martin), Ghost of Christmas Present, replete with a Caribbean accent (La Chanze) and Ghost of Christmas Future (Rachel Prather) all make appearances. Ms. Prather doubles as well his late sister Fan in a dual role. His change here isn’t so much out of moral obligation as it is expeditious.

The two standout performances are, of course, Andrea Martin, a delight as usual, and La Chanze is imposing; the Caribbean accent is a bonus in all-too-brief moments. What is lacking is a dynamic Scrooge. It is interesting to note here that Mr. Scott’s father was the late George C. Scott, a formidable actor who gave a brilliant TV rendition of Scrooge. Campbell Scott, although a fine actor, lacks the forcefulness that his father brought to the role.

All in all, if you are looking for a slightly reimagined A Christmas Carol, along with Christmas carols, including “Joy to the World”, Silent Night, and “It Came Upon the Midnight Clear” and a surprising immersive, interactive Christmas experience, I highly recommend this version. Coming out of the show, one feels the Christmas season has officially begun.

Edited by Scott Harrah
Published November 24, 2019
Reviewed at November 23, 2019 press performance.

‘A CHRISTMAS CAROL’ (left to right) Andrea Martin, LaChanze, Campbell Scott (center) & Rachel Prather. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Campbell Scott & Dashiell Eaves. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Andrea Martin. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Campbell Scott & LaChanze. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: Sarah Hunt & Campbell Scott. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: Chris Hoch & Campbell Scott. Photo: Joan Marcus

‘A CHRISTMAS CAROL’: Campbell Scott. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: Campbell Scott. Photo: Joan Marcus.

‘A CHRISTMAS CAROL’: The cast. Photo: Joan Marcus

The post ‘A Christmas Carol’: Dickensian with a twist appeared first on StageZine.

‘NOISES OFF’: (left to right) Daniel Davis, Kate Jennings Grant, Andrea Martin, Jeremy Shamos & Megan Hilty. Photo: Joan Marcus

NOISES OFF
Written by Michael Frayn
Directed by Jeremy Herrin
Through March 6, 2016
American Airlines Theatre
227 West 42nd Street
(212-719-1300), www.RoundaboutTheatre.org

By David NouNou

There was a time when comedy was a staple on Broadway, now it is a rarity, and a fun-loving farce is nonexistent. So whenever Noises Off is revived, it is a welcome addition to any theatrical season. Mr. Frayn’s comedy has never been considered high art, but is a wonderful, gut-splitting tale about a regional touring company of a bad show, with second-rate actors, from the time of a final dress rehearsal to final performance of the tour. It could be about any American touring company, but this particular one is set in the British hinterlands.

The setup is brilliant: Act I is set at the final dress rehearsal hours before curtain time; you get to see the dreadful play being performed onstage. A lot of the plot centers on sardines, missed cues, slamming doors, pratfalls, bloated egos, affairs souring; in short, every conceivable disaster that a farce faces. Act II is a month later, with all the action taking place backstage at a performance of said dreadful play where the performance starts unraveling. Act III is two months later at the end of the tour and everything has unraveled.

Whether you are a seasoned or a first-time theatergoer, the fun here is the situation is so relatable. You might think that some of the action is so outlandish and far-fetched, but in the theatre it really isn’t, and that is the nature of a farce and one is supposed to go with the flow. With the theme being so universal, I’ve often wondered why when this show is done in America, why Mr. Frayn hasn’t given license to change the setting from England to the USA. This farce would work in any country that has a touring company and it wouldn’t saddle the actors doing atrocious British accents, and most of the actors onstage can’t do a proper English accent to save their life and this is not a deliberate part of the play. The cumulative accents of the actors in this production go in and out of their accents throughout the play, and you wonder why not just drop the British accent and just do it as a straightforward farce without the audience having to strain to understand what is said on stage?

That being said, just sit back and enjoy the high jinks taking place onstage. As this is an ensemble piece, I can’t help but mention the entire cast: Tracee Chimo, Daniel Davis, David Furr, Kate Jennings Grant, Megan Hilty, Andrea Martin, Rob McClure, Campbell Scott and Jeremy Shamos. All lend their comedic talents to this exhausting farce and it is no small feat. Jeremy Herrin, who last year directed Wolf Hall, keeps the cast moving at a frantic pace. All you have to do as the audience is sit back and enjoy an hysterical evening of high jinks in the theatre.

Edited by Scott Harrah
Published January 18, 2016
Reviewed at press performance on January 17, 2016

‘NOISES OFF’: (left to right) Megan Hilty, Daniel Davis, Kate Jennings Grant, Jeremy Shamos, David Furr & Andrea Martin. Photo: Joan Marcus

The post ‘Noises Off’: Farce within a farce returns appeared first on StageZine.