A spirited look at second chances

It’s a pity the word “humbug” is no longer fashionable, because it’s an adept description of recent North American Christmases. It’s only too easy to be irritated seeing how consumerism takes over the season – the frantic shopping, the expensive gifts, the repetitious music and the corny sentimentality.

But some traditions have a way of getting under your skin, not the least is the Citadel Theatre’s 15th anniversary of A Christmas Carol now running until Dec. 23.

The Tom Wood adaptation of Charles Dickens’ classic has not only become a tradition, but a much-cherished expectation. The story’s success lies in targeting the heart and finding its mark with a dignified balance.

Wood relies heavily on Dickens’ masterful depiction of character and dialogue, and artistic director Bob Baker seizes on the gothic grandeur of the tale to assemble the disparate elements.

At the heart of A Christmas Carol is the importance of honouring tradition and family, both in a social and spiritual way.

Not only is this a tale with a message of compassion, love and redemption, it’s also a creepy ghost story that never loses its edge and comes alive with an eerie, haunted glow.

And it starts with a staging that resembles a revolving Victorian gingerbread street with spooky London fog, scatterings of snowflakes, ominous music and the occasional sound of bells.

There are many reasons to love this show, from the brilliant acting to the superb production elements. But without question, the best by far is the return of James MacDonald as the character of Ebenezer Scrooge, a lost soul who awakens the spirits travelling through time.

Yes, Scrooge is a penny-pinching, bad-tempered old miser who locks his emotions behind a self-imposed prison. But MacDonald creates a complex character that has a disagreeable, at times cruel sense of humour and a guileless giggle when he lets it out.

MacDonald’s interpretation of Scrooge reminds us that behind his acid-tongued armour, Scrooge is a child inside who suffered some great hurts and tragically lost the two women he loved. And it is with a child’s pain that he lashes out.

This production is a freight train of extraordinary talent from Julien Arnold’s tormented Bob Cratchit who watches the life slowly ease out of Tiny Tim to Sheldon Bergstrom’s kind, high-spirited Fezziwig.

Kate Ryan returns as Mrs. Cratchit, a woman overflowing with maternal love, and a delightful counterpoint to Scrooge’s utter isolation. Maralyn Ryan, who for 14 years has played the role of Mrs. Dilber, Scrooge’s housekeeper, adds a zesty humour to some of the dark scenes with her delightful comedic chops.

And John Kirkpatrick, as the spirit of Jacob Marley doomed to wander the Earth chained by the links he forged in life, gives the audience a thrill with his snake-like wig, bloodshot eyes and echoing voice.

Even St. Albert’s own Jevan Godsmark, as the Young Scrooge, makes a solid impression as a hurt boy rejected by a father through no fault of his own.

There are too many characterizations to list separately, but together they weave a powerful story of second chances – food for thought as we move toward a new year.