• A Christmas Carol (2018 play)

11/30/18 (Fri), Los Angeles

A one-man version of the evergreen classic by the protean actor Jefferson Mays, directed by Michael Arden (Once On This Island revival). May is something of a specialist in playing multiple roles after notable performances in I Am My Own Wife and A Gentleman’s Guide…, both of which I loved. So my expectations were high.

I had assumed this would be the bare-bones adaptation popularized by Patrick Stewart (which has been staged successfully in Japan in a local version), but it was a brand new show supplemented with elaborate lighting, sound and special effects and numerous set pieces – beds, large staircase, elaborate throne – that roll in and out as needed.

The approach is on the serious side and overly heavy at times, veering from Dickens’ more light-hearted take. The nephew, for instance, is far too stern in his initial appearance, jarring with the presentation of his happier figure at the subsequent party; the writer has not thought this out well. And some scenes were dragged out too long, such as the Fezziwig party and Cratchit household Xmas dinner – we get the idea already. That said, it’s hard not to admire Mays’ energetic delivery in any scene he’s in. The narration was fairly faithful to the original, covering all the celebrated lines and scenes.

Mays’ narration is delivered with immaculate timing and tempo. He starts off in the dark, slowly lighting candles around the stage as he warms up to his story. He is great at setting the atmosphere and unhurriedly spinning out the story, while whipsawing effortlessly among the many characters with subtle movements unique to each. A fully thought-out and committed performance.

The lighting effects were particularly striking, especially the evocative candlelit ambiance at the beginning. Costumes were minimal, such as a black cape for Scrooge that turns instantly into a black dress for a woman. The various ghosts were differentiated primarily by the lighting, though there was a super stage effect toward the end for the Ghost of the Future. Other playful techniques include the projections suggesting a party scene and the shadow of the Ghost of the Present that separates from its owner. The endless surprises on the effects side make this more than just a one-man show – it owed as much to the technical staff as to the actor.

While I would have preferred a lighter touch to the material as in the Dickens original, the actor’s performance of the text and integration with the technical effects were superb. I suspect this won’t be the last season of this adaptation.