A Christmas Carol: A Play with Music at NC Stage Co.
Folks who think they’ve seen enough versions of Charles Dickens’ A Christmas Carol or assume that nothing new can be done with the well-worn material would be wise to head to NC Stage Co. over the next few weeks.
Currently treading the boards is Art & Anvil Entertainment’s A Christmas Carol: A Play with Music, which breathes new life into the near-ubiquitous tale — ironically by drawing inspiration from the novella’s early incarnations, in which Dickens shared the story with audiences in England, the U.S., and elsewhere as a spoken performance.
Remaining faithful to the source material’s words, co-adapter and chief player Jeffries Thaiss gives a mesmerizing performance, making the most of a face and stature that lends itself to the fable’s numerous characters. With the shift of his posture and a distinct new accent, Thaiss transforms from narrator to Ebenezer Scrooge, the entire Cratchit family, the three Christmas spirits, everyone in between, and back with an ease that belies the hours of practice such a challenging assignment demands.
Yet before Thaiss brings forth his mastery, an amusing conceit loops guitarist/vocalist Ben Mackel — who’s initially presented as “just” the pre-show entertainment, beautifully strumming and humming carols at the corner of the stage — into the production proper as its Musician. Thus begins a humorous dynamic in which Thaiss’ Actor goes full “the show must go on” despite his substitute co-star, conveying a huffiness that gradually melts in fairly close tandem with Scrooge’s transformation from humbug to hero.
Though the familiar narrative beats are all there, Thaiss’ dramatic dexterity keeps the proceedings fresh, as do this Christmas Carol’s impressive sound effects and imaginative use of minimal props. Thaiss turns two wooden chairs into all sorts of objects, and Mackel shines as a one-man Foley team. In addition to his tasteful musical accompaniments and verbal FX, the body of his acoustic guitar mimics a knocked door when struck, and when its strings are dragged on by a bow, an eerie screech issues forth. Further sounds arise from a box containing mysterious objects that Mackel shakes with his feet, effectively putting the image of Jacob Marley’s heavy chains in theatergoers’ minds.
It’s such a plum role that The Musician occasionally gets carried away with it all, laughing a little too loudly or making too much noise — outbursts that attract The Actor’s disapproving glare, comically followed by The Musician cowering behind his music stand. The pair’s rapport is a delight to behold, and Clay Hopper’s direction and Sara Hassinger’s stage management ensure that the cast of two and the sparse production design sustain audience attention.
Rounding out the small but cohesive team, Charlie Flynn-McIver’s tasteful images projected on the backdrop bring a greater sense of place to Dickens’ words, and become far bleaker with the appearance of the Ghost of Christmas Yet to Come, while lighting design by Carrie Day convincingly suggests interior and exterior settings, as well as spectral presences.
Together, the cast and crew take one of history’s most iconic literary works and prove that, in the right hands, such creations still carry plenty of charm and power, even centuries after their inception.
A Christmas Carol: A Play with Music runs through Dec. 19 at North Carolina Stage Company in Asheville. For details and tickets, visit ncstage.org.
(Photo courtesy of Art & Anvil Entertainment)
