Gradually updating a classic

Deepa Bharath

It’s a holiday staple -- just like gingerbread men, mistletoe and

Santa Claus.

“A Christmas Carol” is back again at the South Coast Repertory

Theater for yet another holiday season -- its 23rd.

The show, adapted by Jerry Patch in 1980 from the Charles Dickens

novel, will retain much of its original content. One little

difference is bound to be noticed by the audience -- most members are

loyal fans of the show who come back every year.

They will likely spot the work of Tom Buderwitz, the show’s new

set designer. The artist’s subtle representation of Victorian London

can be seen in the black and white drawings on canvas that frame the

Segerstrom Stage.

Buderwitz, a freelance designer based in Los Angeles, will

redesign the set not all at once but piece by piece with each passing

year.

“It’s a great challenge,” Buderwitz said. “They have a design that

works well, that has worked well for many, many years.”

His mission is to give it a breath of freshness, retain the best

and embellish it to make it better, he said. Buderwitz takes guidance

from veterans like John-David Keller, who has directed the play every

year it’s been staged.

“I figure out what they want to see,” Buderwitz said. “Then I use

my design instincts to give it a fresh perspective.”

This year, he has done about 25% of what he has set out to do.

“It now has a framework or a shell,” he said. “The rest of it is a

three- to four-year project.”

The drawings that adorn the Segerstrom Stage now are actually

period prints by renowned artist Gustav Dore. Buderwitz took those

prints and altered their size and coloration digitally and laid

computer artwork on top of the prints. Then he got them printed on

canvas and had them mounted on the stage.

“The goal was to do something less literal, yet create the feeling

and flavor of London,” he said.

Buderwitz stepped right into the shoes of Cliff Faulkner, who

designed the original set in 1980.

The new drawings have expanded the scope of the audience’s view of

the stage, Keller said.

“Earlier, the audience’s eye would stop here,” he said, pointing

to a part of the stage way before the exit. “Now their view is side

to side. You’re taken right into the exit. Some of these drawings

even go off stage, and that’s great.”

Keller said Buderwitz has taken on a considerable challenge.

“It’s easier to redo the whole thing instead of redoing parts of

something,” he said.

Next year, Buderwitz will roll up his sleeves and approach the

interior sets.

“The set I’m inheriting here is a very strong and traditional

one,” he said. “I’m trying to take it to the 21st-century mode while

preserving its essence, its flavor and Victorian charm.”