Last year, Kevin Moriarty shook things up by reinventing Dallas Theater Center’s longstanding holiday tradition, A Christmas Carol. It was a daring and modern production, but one that ultimately had too many ideas stuffed into its whirlwind 90 minutes. This year, Lee Trull has taken Moriarty’s concept and streamlined it, focusing on creating poignant moments while still sprinkling in some Christmas magic. It’s the show that was hiding under last year’s avalanche of grand visions.
One aspect that worked last December and has only improved with this go-around is the music, designed both years by Broken Chord. Building out Charles Dickens’ classic tale of a miserly old man who’s visited by three ghosts and awakens understanding the true meaning of Christmas, the traditional and modern carols create an instantly dreamlike atmosphere.
This year, Shawn Magill (of local band Home by Hovercraft) music directs, and her distinctive influence can be heard everywhere from the percussive foot stomping during the Fezziwig’s party (Jeremy Dumont’s choreography is pleasing and unfussy) to the tuba played by her husband, Seth (HBH’s lead singer, here portraying Scrooge’s nephew). Their daughter, Tara, also alternates in one of the children’s roles, making it truly a family affair.
This fresh sound invigorates tunes like “Carol of the Bells” and “Joy to the World,” making the old feel new again. Each actor—even the little tykes—also plays at least one instrument, with some (like Brandon J. Murphy and HBH’s Johnny Sequenzia) seemingly capable of forming successful one-man bands.
Tony-winner Beowulf Boritt’s set is similar to the one he designed at the Wyly last year, all clanging pipes and grimy scaffolding for the actors to nimbly scale. Jeff Croiter’s moody lighting changes the grim factory to an enchanting wonderland with hundreds of cleverly hidden twinkle lights, and Jennifer Caprio’s costumes are sumptuous
DTC resident company member Chamblee Ferguson is back as Ebenezer Scrooge after last year’s hiatus, and with this performance he relies less on his beanpole physique and more on his expressive face. Don’t surprised if you see real tears glisten in his eyes when he discovers that kindness can change the world—it’s an authentic reaction that drives home the show’s message.
Also digging deep are Julie Johnson and Lydia Mackay, each playing roles that normally feel throwaway at best. Johnson milks her stage time as Mrs. Dilber, Scrooge’s no-nonsense housekeeper, turning her into a comedic showstopper. Mackay, meanwhile, elevates Mrs. Cratchit from a stressed-out housewife to a complicated woman, whose love for her husband and children feels achingly genuine. Surprises like these remind that new opportunities still lurk in this familiar story.
