‘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.

‘AMAZING GRACE’: Josh Young (center) and the cast. Photo: Joan Marcus

AMAZING GRACE
Book by Christopher Smith and Arthur Giron
Music and lyrics by Christopher Smith
Directed by Gabriel Barre
Choreography by Christopher Gattelli
Nederlander Theatre
208 West 41st Street
(877-250-2929), http://www.amazinggracemusical.com/


By David NouNou

Did you ever wonder what it would be like to be filthy rich? To have so much money that you can actually burn it? Well, if you see Amazing Grace, I guarantee you will get a sense of what it’s like to waste a lot of money (reportedly $16 million), both literally and figuratively.

I can only venture to say that no one on the production or the creative side has heard of such musicals as Scandalous or Leap of Faith and what their eventual outcome turned out to be. It’s truly “amazing” that there are still believers that would entrust millions of dollars to a novice song and book writer, Christopher Smith, a man who was once a policeman in Pennsylvania, had no training in writing any form of musical, and gave up his day job because he was inspired to write a musical about John Newton, the British slave trader and son of a captain of a slave ship, who in time became an abolitionist. John Newton ultimately found redemption and inspiration in writing the church hymn “Amazing Grace,” but the fact that this alone is the basis and title for a Broadway musical is absolutely mind numbing. If I had to bet on which of the two storylines had a better chance of success—the former about investing in a novice policeman and the arc of his story to write a musical—or the latter about John Newton, the wretch that was saved and wrote a hymn, I think you know which I would pick.

In all fairness to Amazing Grace, it is not dull like the dreary behemoth Dr. Zhivago from earlier this spring, or as sloppy as other religion-inspired musicals like Leap of Faith or Scandalous; those were aimless train wrecks that kept surprising you with their ineptness. However, there is a story here, be it ever so flimsy, but the saga is hackneyed, trite and full of clichés. There are no surprises here; piety oozes from every line. It is a musical “by the numbers,” you can anticipate what the scene is about, what will happen, what the song will imply, and you can second-guess the next scene before it takes place. Needless to say, one figures out the outcome of the show by Act I, Scene II.

John Newton (Josh Young) is a no-good English wastrel and son of a wealthy slave trader. His mother died at an early age and he has grown to rebel and resent his father, Captain Newton (Tom Hewitt). He has two people who believe in him: Thomas, his slave (the excellent Chuck Cooper) and his childhood sweetheart, Mary Catlett (Erin Mackey). At a slave auction that John runs behind his father’s back, both Abolitionists and Redcoats break up the proceedings. In the fray is Major Gray (Chris Hoch), who is smitten with Mary. On a drunken Christmas Eve, John is scuttled and sent on a slave ship to Africa by Major Gray, thus clearing the way to lure Mary away. Due to John’s surliness, his father doesn’t stop the proceedings and sends John to learn about the meaning of life the hard way. His trusted slave Thomas goes with him. Meanwhile, Mary, witnessing what goes on in the slave trades, joins the Abolitionists about the unfair treatment of the slaves. John’s slave ship is sunk off the coast of Africa and is captured by Princess Peyai (Harriet D. Foy) and gets treated by her the way he treated his slaves. Suddenly, a light bulb goes off and John sees the light and, as they say, the rest is history.

Mr. Smith, composer, lyricist and book writer, has set up his scenes and characters in the most predictable of fashions and given them message songs to sing about being “Truly Alive,” “I Still Believe” and seeing the light, all laden with piety. The intent may have been very sincere, but the results are stock scenes with stock characters in stock situations and are not aided at all by Gabriel Barre’s lackluster direction.

Josh Young, who gave a sterling performance in his Tony-nominated role of Judas in the 2012 revival of Jesus Christ Superstar, has a fine tenor voice. Although he is the hero of the story, he doesn’t bring much to the scenes; he grouses and misbehaves in the beginning, sees his errors in the middle and finds salvation in the end. Oh, joy. Erin Mackay, who never gave up on John, is defiantly lovely throughout. Tom Hewitt redeems himself from his previous disaster, the Broadway musical adaptation of Dr. Zhivago; at least he can control his performance here. The best part of the show is Chuck Cooper, who always delivers a power-punch performance, this time as the slave Thomas/Pakuteh; as usual he’s imbued his character with dignity and grace, and his final scene is poignant indeed.

Since there are very few surprises to the storyline, I won’t do a spoiler alert. You’ll just have to sit through the show like I did to learn what the final song of the show is.

‘AMAZING GRACE’: (left to right) Stanley Bahorek, Harriett D. Foy, Tom Hewitt & Chris Hoch. Photo: Joan Marcus

‘AMAZING GRACE’: Erin Mackey & Laiona Michelle. Photo: Joan Marcus

‘Amazing Grace’: Chuck Cooper, Josh Young & company. Photo: Joan Marcus

‘Amazing Grace’: Laiona Michelle & Rachael Ferrera. Photo: Joan Marcus

‘AMAZING GRACE’: Erin Mackey & Josh Young. Photo: Joan Marcus

‘AMAZING GRACE’: Erin Mackey. Photo: Joan Marcus

‘AMAZING GRACE’: Josh Young. Photo: Joan Marcus

Edited by Scott Harrah
Published July 22, 2015
Reviewed at press performance on July 21, 2015

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