‘Carol’ has Christmas spiritBy Paul Kolas Telegram and Gazette Reviewer STURBRIDGE— Stageloft Repertory Theater is making it a habit to present Israel Horovitz’s meditative treatment of Dickens’ classic tale during the holiday season, and this year’s edition is not only an impressive amalgam of sight and sound, it brings to mind a compendium of influences ranging from the Twilight Zone to Stephen King to the Bronte Sisters. And Robert C. Latino’s remarkable facial makeup as the Ghost of Jacob Marley looks eerily borrowed from The “Creature From the Black Lagoon,” with its ashen gray, almost reptilian visage. At times lugubrious in tone, “A Christmas Carol: Scrooge & Marley” entertains in a serious-minded way that artfully avoids sermonizing. Latino, who serves up a running commentary on Ebenezer Scrooge’s transformation from hardened, soulless miser to spiritually enlightened benefactor, was an imposing presence on Saturday night, delivering his admonitory heedings to his former business partner with a simmering menace that occasionally erupted into impatient, booming fury whenever Scrooge veered toward skepticism. His Marley is a scary looking and persuasive specter that would coerce anyone into behaving properly. It’s an indelibly august piece of acting. As for Scrooge, John McGonigle throws himself into the part with finely grained emotional and physical detail. He dismisses the spirit of Christmas not with a snarl, but with smug, superior incredulity. The diminutive stage in Sturbridge lends itself well to this particular treatment of Dickens’ story, since it focuses primarily on the relationship between Scrooge and Marley. Jeremy Woloski’s observant direction extends to his wonderful use of sound to amplify the foreboding mood. Whenever Marley or the various Ghosts of Christmas Past, Present, and Future enter through a door, a howling wind can be heard whipping through Scrooge’s bed chamber. After the Ghost of Christmas Past (played with ethereal detachment by Nicole Marchand) conjures a past moment of a younger Scrooge arguing with his sweetheart Belle, bits of the heated conversation echo through the theater sound system, a clever aural psychological touch that torments the present Scrooge with regret. Josh Minor’s evocative lighting also adds visual texture to the tableau feel of many scenes. Resourceful utilization, too, is made of the stage, alternating as Scrooge’s office, his bedroom, Fred’s house and a London street. There are some solid contributions from the large supporting cast. Erik Evan Johnsen seems to be constantly improving as an actor, and he brings a playful warmth to the role of Scrooge’s nephew Fred. Todd Darling draws sympathy as Scrooge’s abused but cheerily resilient employee, Bob Cratchit, while Rich Dussault makes a very jolly Ghost of Christmas Present. Emily Kate Jones handles her long stretch of dialogue as Belle with plaintive intensity. Peter Arsenault shows surprising depths of expression as the young adult Scrooge. Also good are Robbin Joyce as Mrs. Cratchit and Angela Doucette as Fred’s wife, Sarah. The rest of those too numerous to mention add in variable ways to the tapestry. As for Tiny Tim, the quite adorable Zachary Darling will make you extremely happy Marley and company bring Scrooge to his senses. |