THEATER REVIEW : REP OFFERS ‘CAROL’ FULL OF SPIRIT

The San Diego Repertory Theatre’s production of “A Christmas Carol” is sure to get all the humbugs out of your system. By the time the Ghost of Christmas Present laughs his hearty laugh and sprinkles his silvery confetti, you’re bound to be in the Christmas spirit.

The story, adapted by Rep artistic director Douglas Jacobs and presented in the Lyceum Theatre, is as faithful to Charles Dickens as ever. Ebenezer Scrooge, played with marvelous irascibility by Tavis Ross, is a miserly old businessman who does not keep Christmas in his heart. His respect is reserved for his dead partner, Jacob Marley, who understood the value of a dollar. His contempt is for everyone who doesn’t: his loyal clerk, Bob Cratchit, played with stalwart sincerity by W. Dennis Hunt (who will be alternating in the Scrooge role with Ross); his good-natured nephew, Fred (an engaging portrayal by Peter Samuel); carolers; charity workers, and any smiling face who would dare to pin a bit of holly on his collar.

Ross is a masterful Scrooge. Hunched, bony, with squinty eyes and puckered lips, he looks like a character Carson McCullers once described as begrudging food even to himself. If he has a fault, it is that he learns his lessons too quickly. He seems such an incorrigible old rascal in the beginning; it would be nice to see him drop his scaly defenses a little more reluctantly.

Scrooge is given a chance for redemption by the ghost of Marley (slightly overdone by Peter Jacobs; he does better in his other role as narrator). Marley warns him that he is headed for eternal torture. He tells him that he will be visited by the Ghost of Christmas Past (Diana Castle, sweet-voiced as nostalgia itself), the Ghost of Christmas Present (Ollie Nash, whose heartiness knocks all other Ghosts of Christmas Present out of mind) and the Ghost of Christmas Future (an ominous, shivering black sheet).

Through these visits, Scrooge is confronted with his youthful ideals and vulnerability, his present poverty of spirit, and the bleakness of the future he is creating not only for himself, but for his clerk’s crippled child, Tiny Tim. One man’s life, he slowly learns, does affect others.

Sabin Epstein’s direction makes the most of a bare wooden stage with minimal props. There are spirits in the rafters, mortals on the floor, and human demons--in the form of robbers--lurking just below the trap door. Epstein, who is new to this show, mediates among these worlds skillfully, all the time keeping alive a great naturalness as the ensemble company, playing a variety of parts, bump into each other, giggle, flirt, and get embarrassed. Amy Herzberg as Scrooge’s niece-in-law (and Mrs. Fezziwig) is particularly good at this sort of physical comedy. Her small, pointed, piquant face mines each collision for every last bit of endearing dismay.

Attention to detail deepens the play. The caroler whom Scrooge turns away (Ellie Mout) reappears as the young Ebenezer, whom the old, visiting Scrooge yearns vainly to comfort. When we see the same child playing Tiny Tim, we sense that in helping Tim, Scrooge will also be helping the poor, lonely child that he was himself. So we are reminded that there is only one child in the world, and he is Man.

There are some delightful touches. Watch the knocker on Scrooge’s door. Yes, it really does change from a lion head to the face of Jacob Marley.

The music of Polly Pen is a welcome addition to this production. At first disturbing, it starts off in the distant, minor key of a Greek chorus and later is used more effectively to bring out what is going on in Scrooge’s mind. Especially memorable is the melodic war between the female spirits soothing him with “It’s just a dream,” and the harsh tones of the male spirits chanting, “It’s not a dream.”

There are two things to expect from a classic. One is constancy, the faithful preservation of what makes the story work. The other is change, a willingness to keep things fresh. The Rep is to be congratulated for maintaining a dynamic between these two forces for 11 years and 11 different productions--not a small challenge.

Of course, if there is a regrettable slant, it is certainly on the side of conservatism. Wouldn’t it be fun sometime to see “A Christmas Carol” not in Dickensian England, but in modern-day America, or even during the Depression? Well, the Rep has not disappointed us in Christmas Past or Christmas Present. Who knows what lies ahead in Christmas Future?

“A CHRISTMAS CAROL” Adapted by Douglas Jacobs from ‘A Christmas Carol’ by Charles Dickens for the San Diego Repertory Theatre. Director is Sabin Epstein. Original music by Polly Pen. Musical and vocal director is Linda Vickerman. Associate musical director is Victor P. Zupanc. Choreography by Patrick Nollet. Sets by Kent Dorsey. Costumes by Nancy Jo Smith. Lighting by Peter Maradudin. Stage manager is Hollie Hopson. Assistant director is John Daines. With Darla Cash, Diana Castle, Kate Frank, Amy Herzberg, W. Dennis Hunt, Peter Jacobs, Michael Lewis, Melissa Littrell, James C. Manley, Ellie Mout, Ollie Nash, JoAnn Reeves, Tavis Ross and Peter Samuel. At 8 p.m. Tuesdays-Saturdays and at 7 p.m. Sundays with Saturday and Sunday matinees starting Dec. 14; Tuesday matinees and Monday 8 p.m. performances starting Dec. 21. Closes Dec. 28. At the Lyceum Theatre, 79 Horton Plaza, San Diego.