It’s a Spooky Christmas With A Christmas Carol at Chesapeake Shakespeare Company

By Jason Crawford Samios-Uy

Approx. Running time: 2 hours with one intermission

We all know the story or have heard it (or at least bits and pieces of it) throughout our lives and it’s a good story and a staple for the holiday season. Of course I’m talking about Charles DickensA Christmas Carol, which, incidentally, I didn’t learn until recently is the story they sing about in “It’s the Most Wonderful Time of the Year” in the lyric “there’ll be scary ghost stories and tales of the glories from Christmases long, long ago!” In Chesapeake Shakespeare Company’s latest production, A Christmas Carol, Adapted by Ian Gallanar and Directed by Scott Alan Small, we’re taken back, once again, to Victorian England to learn a lesson of compassion, love, and the Christmas spirit (or spirits).

Gregory Burgess (Ebenezer Scrooge) and Michael Toperzer (The Ghost of Christmas Yet to Come). Photo: Brandon W. Vernon

For those unfamiliar, and I can’t imagine it’s many, A Christmas Carol concerns itself with Ebenezer Scrooge, an old curmudgeon miser who wants nothing to do with Christmas until his old partner, Jacob Marley, who has passed on before him, comes to him carrying heavy chains made from his horrible actions while he was alive and  a warning that three ghosts will visit him, The Ghosts of Christmas Past, Present, and Future, to teach him what the season is all about. Marley warns him to change his ways or else he’ll end up with the same fate and even heavier chains.

Scenic Designer Daniel O’Brien keeps it simple with a unit set and pieces that move in and out to create the spaces in which each scene is set. Kudos to O’Brien for the attention to detail in the pieces and the dark, Gothic color scheme that is most appropriate to the period. The set adds great value to the production, as a whole, and helps move the story along rather than hinder it and O’Brien is to be commended for his efforts.

Costumes are challenging for a period piece, even for a professional theatre company, but Costume Designer Kristina Lambdin and Hair, Wig, and Makeup Designer Sandra Spence are on point with every stitch and curl. No detail was too small and Lambdin and Spence transport the audience right back to Victorian England with their superb designs and they deserve their own round of applause for their work on this production.

Tamieka Chavis and Gregory Michael Atkin. Photo: Brandon W. Vernon

Some would consider this production a musical because of all the music provided pre-show, in-show, and pre-Act II, but I can’t help but think it more of a play with music. That being said, Music Direction by Grace Srinivasan is exquisite. Every song that was chosen is apropos and she guides her cast in to tight, harmonious performances that add that something extra special to this production. I couldn’t mention music without mentioning Donna Korn, credited as Musician, and she is phenomenal in her craft, though other very apt cast members join her in accompanying the cast in their songs, Korn takes the lead playing several instruments throughout, flawlessly. Hats off to Korn for her strong, delightful showing.

Along with music, Dance usually isn’t far behind and Choreographer Nellie K. Glover gives us engaging and enjoyable choreography that is in the style of Victorian England, so it’s clear she’s done her homework. Intricate group numbers are upbeat, sophisticated, and tight and are just a joy to watch from the audience.

Scott Alan Small takes the helm of this piece and it’s clear he has a tight grasp on the classic, well-known story from a bygone era. He puts his own seasoning on this yearly production and his staging is smooth, keeping up a steady pace that moves along nicely. Most, not all, know the story coming in, so Small isn’t trying to rewrite the story, but presents it in a charming manner rebooting the relatable characters, making them fit into his vision. Hats off to Small for a job well done.

Gregory Burgess and Bethany Mayo. Photo: Brandon W. Vernon

Moving to the performance aspect of the production, the adage that comes to mind is “you win some, you lose some.” Most of the performances are splendid with an apt ensemble that is giving 100% effort and thoroughly enjoying themselves on stage and with each other which makes the overall performance enjoyable.

One interesting performance, to be delicate, is that of Company Member Gregory Michael Atkin who takes on the dual role of Fezziwig, Scrooge’s former and jovial employer, and The Ghost of Christmas Present. Now, I’m all for camp and I usually enjoy it immensely, however, Atkin’s style of camp just stuck out like a sore thumb in this production. I can see what he and/or Director Scott Alan Small is going for, bringing a modern twist to an old story, but Atkin just seems to go over the top repeatedly. Seeing him portray both roles with no real contrast between the two, it’s just as if he’s disregarded the characters themselves with no real character work. The flamboyance, the overt sass, and needless ad lib is a bit too much for this reviewer, but, hey, everyone’s a critic, right?

Xander Martin and Steve Torres. Photo: Brandon W. Vernon

On the other end of the scale, however, there are many highlights and standout performances in this production. To mention a few, Tamieka Chavis is absolutely delightful and authentic as Mrs. Fezziwig, among other characters. Her portrayal of this bubbly character just makes you smile from the moment she steps on stage and she has a certain presence and air that is second to none. I’m looking forward to seeing more stage work from her. Also, Steve Torres gives a good showing as the meek but caring Bob Cratchit giving a lovely performance with a natural delivery and purpose, showing he has a good grasp on this character. Along side Torres, Molly Moores as Mrs. Cratchit (and a shining moment as Scrooge’s old teacher, Miss Winthrop), and all the Cratchit children, especially young Temperance Oppel, are charming as the down and out but still loving Cratchit family.

Other mentionable performances come from Michael Toperzer who takes on the role of the ever optimistic, only living relative of Ebenezer Scrooge, Fred. Toperzer gives a strong, confident performance and works well with his castmates, especially in scenes with Fred’s close friends, including Kate Forton who gives a humorous and warm presentation as Caroline, a tipsy and fun-loving young woman.

Bethany Mayo, as the Ghost of Christmas Past gives an admirable performance, if not a little stiff, at times, but walking around lit up like a Christmas tree (though an beautiful and elegant Christmas tree) can be a little distracting for anyone.

Scrooge himself is portrayed, once again, by Gregory Burgess and this performer seems to completely embody this character. After playing a role repeatedly for several years, one would think it would get stale, but if it is, you won’t know it watching Burgess as he masterfully navigates through the story with a confident and consistent performance that brings Ebenezer Scrooge right off the page and into the real world. His dedication and character work is clear and he has a deep comprehension of this character making for a near flawless showing. Kudos to Burgess for his efforts and hard work.

Gregory Burgess and Lance Bankerd. Photo: Brandon W. Vernon

A standout in this particular production is undoubtedly Lance Bankderd, tackling the role of Jacob Marley. Bankerd has this role down pat and from his facial expressions to the spooky character voice he uses, his stage movement – everything is superb. He brings this small, but significant character to life and is in your face with no bones about it. He has a tight grasp on what the purpose of this character is and what this character is saying, which makes his performance impeccable all around. I can say, arguably, his performance is almost worth the price of admission and you don’t want to miss it.

Final thought… A Christmas Carol is always a good bet around the holidays, albeit a common one. This script is part of the Chesapeake Shakespeare Company’s annual holiday tradition and it suits them well. Every production is different and I actually saw one a couple of years ago and this current one happens to be much more entertaining and engaging so, it’s an evolving production with a revolving cast and different directors so, it doesn’t get stale. There are a few curious acting choices in this production, but overall, it’s a fun-filled, loving telling off the Dickens’ classic. The production is well put-together and polished and keeps it simple which is how it should be. Kudos to the cast, crew, and production team for a solid, entertaining production.

A Christmas Carol will play through December 24 at Chesapeake Shakespeare Company7 South Calvert Street, Baltimore, MD. For tickets, call the box office at 410-244-8570 or you can purchase them online.

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Review: A Christmas Carol at Chesapeake Shakespeare Company

By Jason Crawford Samios-Uy
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Running Time: Approx. 2 hours with one intermission
Bah Humbug! It’s a phrase familiar to most who know the story of old, crotchety Ebeneezer Scrooge from Charles Dickens’ A Christmas Carol. The story teaches many lessons including compassion, empathy, and love, especially around the holidays. So, it’s popular story and has been adapted countless times for both stage and film so, there’s always a risk that most of the theatre companies in any particular area will rush to present their own version of this staple of the holiday season. With about 15 productions going on in Baltimore at the same time, Chesapeake Shakespeare Company has joined the fray to mount their latest production of A Christmas Carol, adapted and Directed by Founding Artistic Directory Ian Gallanar, with Music Direction by Grace Srinivasan, Choreography by Nellie K. Glover, Set and Lighting Design by Daniel O’Brien, and Costume Design by Kristina Lambdin, giving a traditional look at this classic with a good old Baltimore twist.
Set and Light Design by Daniel O’Brien is simple, but impressive. A bit minimal as it is a unit set but using various set pieces to represent times and places makes for an efficient design to help move the story along and O’Brien’s attention to detail for each well-chosen piece gives the production a more authentic feel all around. His Lighting Design is also a well though-out design as it sets the mood for each scene adding a little creepiness when needed as well as bringing a particular brightness to the more lighthearted scenes.

Tiny Tim and Bob Cratchit RED team

Tiny Tim (Vivian Klepper) and Bob Cratchit (Scott Alan Small) take a stroll in the snow on Christmas Day. Photo: Jean Thompson


Kristina Lambdin’s Costume Design are nothing less than superb. Her attention to detail and craftsmanship is top notch, taking the audience back to the Victorian era with its layers and subdued, earthy colors. Each character was dressed appropriately and seemed to be as comfortable as can be in the style making for a very intelligent, authentic design.
Choreography by Nellie K. Glover is delightful and upbeat for the numbers requiring dance and merry-making. In numbers such as the Fezziwig party scene, Glover keeps the chorography engaging and in the style of the era in which the production is set, adding to the authenticity of the entire piece. The cast seems to have a blast performing the choreography making for a fun, energized performance.
Grace Srinivasan’s Music Direction is admirable as we are treated to traditional carols such as “God Rest Ye Merry Gentlemen,” “Coventry Carol,” and “We Wish You a Merry Christmas” that fit very well with this production. Srinivasan has this ensemble singing in harmony and has well-chosen featured vocalists. There is actually a very good balance of music in this production and Srinivasan’s work adds value to this production.
Scrooge and Ghost of Christmas Yet To Come

The Ghost of Christmas Yet to Come (Elliott Kashner) reveals to Ebenezer Scrooge (Gregory Burgess) that few people will remember him fondly after his death because he has been so miserly. Photo: Jean Thompson


Founding Artistic Director Ian Gallanar wears the hats of both Director and Adapter of this production and, overall, it’s a good showing, but it does have it’s flaws. First off, setting the story in Baltimore is endearing and charming indeed, but the reminders of this in what seems every other line can get taxing and give the appearance of trying too hard. He didn’t change the time, just the place and because of that, it frankly doesn’t change much. Spouting out Baltimore street names and places is more like filler rather than important to the story line making the script seem a bit trite. He may have been a little more successful by keeping the story in tact, completely. As for his Direction of the production, it’s commendable keeping this large cast in sync, but the staging is a little flat. For instance, the fateful meeting between Scrooge and the Ghost of Marley is very lackluster and moves along at a snail’s pace, as do other scenes. Most of the performances are admirable with a well-cast, dedicated ensemble, but the staging and script somewhat hinder some of the phenomenal talent onstage. Overall, pacing was okay, but transitions were a bit clunky and slowed the flow. That being said, it’s clear Gallanar has a good comprehension of the story and the message it sends as well as a good understanding of these characters. The audiences are definitely entertained, but a little more work on the text and staging would do well for this production as a whole.
Moving on to the performance aspect of this production, Scott Alan Small takes on the role of Bob Cratchit, Scrooge’s gentle and compassionate clerk and Gabriel Hoch tackles the role of the ill, but positive Tiny Tim. Small gives an admirable performance but it does fall a bit flat throughout. He has a good grasp of the character but is stiff and scripted throughout. However, he has good chemistry with this ensemble and is confident onstage. Gabriel Hoch, one of the many children in this production also gives a good showing and is a good fit for this role and understands its importance, giving a good sympathetic spin on this character. When it comes to the many children in this production, all seem to be simply going through the motions – reading their lines and moving to their marks. A little more work with the children may have benefited their performances just a tad.
Ghost of Christmas Past

The Ghost of Christmas Past (Ashly Fishell-Shaffer) enjoys Scrooge’s memories of his Maryland childhood. Photo: Jean Thompson


There are quite a few ghosts or spirits in this production and Keegan Cassady takes on the role of The Ghost of Jacob Marley and, though he portrays a very creepy ghost, the performance seems called in but this may be because of the staging. For such an important scene, I wanted more from The Ghost of Jacob Marley, not just a walking around banging chains. It looks great, and Cassady does what he’s supposed to do in being scary, but he could step up the intensity.
Ashly Fishell-Shaffer portrays The Ghost of Christmas Past, Larry Malkus takes on the Ghost of Christmas Present, and Elliot Kashner performs the silent role of the Ghost of Christmas Yet to Come. Fischell-Shaffer gives a fantastic, whimsical portrayal of the Ghost of Christmas Past and gives the character a good balance of empathy and sternness that the character requires to help Scrooge remember better times, as well as not so happy times that shaped him into the man he is. Larry Malkus is a dominant, confident Ghost of Christmas Present and gives a strong performance as the traditionally robust and hearty character.
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Fred Scrooge (Elliott Kashner) invites his uncle Ebenezer Scrooge (Gregory Burgess) to dinner and offers a gift, which Scrooge declines. Photo: Jean Thompson


Elliott Kashner does take on the shadowy role of the Ghost of Christmas Yet to Come, but he is a highlight of this production as Fred, Scrooge’s young, hapless, and congenial nephew. Kashner gives a committed and strong performance as the counter to the curmudgeon old Scrooge and keeps up his energy throughout the production. A featured scene, a Christmas party along with his wife, Dorothy (Alana Michelle), Topper (Bart Debick), and Caroline (Kate Forton), is natural with a good chemistry between all of the actors. Forton gives a particularly humorous performance of a young girl who’s had a little too much egg nog.
Two standouts in this production are Larry Malkus as Mr. Fezziwig and Kathryne Daniels as Mrs. Fezziwig. This scene during a point in Scrooge’s past is always a high-energy, upbeat scene and Malkus and Daniels take it to the hilt. They both give strong, energetic performances with a natural flare that make these characters likable from the moment they step onstage.
Fezziwig Dance

Mr. and Mrs. Fezziwig (Larry Malkus and Kathryne Daniels) kick up their heels during an office party with employees Young Scrooge (JC Payne), George Wilkens (Bart Debicki) and others (Lauren Engler and Elana Michelle) among the revelers. Photo: Jean Thompson


Gregory Burgess is superb as Ebeneezer Scrooge and has a tight grasp on this character and what he’s all about. His transition from the beginning of this story to the end is seamless but noticeable, as it should be. He has a strong presence and a great command of the stage making him an ideal Ebeneezer Scrooge. There are a few curious choices he makes portraying this character such as a screeching yelp I believe is supposed to be comical but comes off more jarring than anything and a tendency to over-act with large, sweeping gestures and exaggerated facial expressions. Regardless, Burgess portrays this popular, well-known character with a natural ease and succeeds in transitioning Scrooge from a stingy, heartless old man to a loving, compassionate being who has really learned the meaning of Christmas and the love of your fellow man.
Final thought… A Christmas Carol is a timeless tale that can be challenging to give an overall fresh look. Some adaptations are successful, some are so-so, and some are downright painful. I’d put this production at Chesapeake Shakespeare Company in the middle category of so-so. Don’t get me wrong… the production itself is quite good and the audiences seem to enjoy it immensely. Most of the performances were top-notch and dedicated, the costumes were on point, the music selections are appropriate and well-rehearsed, the Set Design is spot on, and all technical aspects of this production work nicely together. The problem lies in the script and the attempt to bring Baltimore into the equation. This story is such that it can be set anywhere, but the setting is not so important as the lesson taught and being reminded that we are in Baltimore every five minutes got downright annoying. We get it. We’re in Baltimore. It’s cute and it helps the audience make a connection, but sometimes it’s best to air on the side of moderation. As stated, overall, it is a well put-together, focused and, even though there are about fifteen other productions of A Christmas Carol happening in the area, this is a production, aside from a few minor flaws, worth checking out during the holiday season.
This is what I thought of Chesapeake Shakespeare Company’s production of A Christmas Carol… What did you think? Please feel free to leave a comment!
A Christmas Carol will play through December 23 at Chesapeake Shakespeare Company, 7 South Calvert Street, Baltimore, MD. For tickets, call the box office at 410-244-8571 or purchase them online.
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