Arts

A fresh Carol, a wacky Play

by Jules Becker
Thursday Dec 15, 2022

Kyosin Kong and Karen MacDonald in rehearsal photo for Merrimack Repertory Theatre's production of "A Christmas Carol.", courtesy of Meghan Moore.
Kyosin Kong and Karen MacDonald in rehearsal photo for Merrimack Repertory Theatre's production of "A Christmas Carol.", courtesy of Meghan Moore.  

A Christmas Carol, Merrimack Repertory Theatre, Lowell, through December 24. 978-654-4678 or www.art.org

Did Lowell's Mill Girls influence Charles Dickens in writing "A Christmas Carol"?

The famous writer, making his first American tour in 1842—a year before he published the now famous novella--actually traveled from Boston to Lowell. There he met Mill Girls, some of whom wrote of ghosts and human redemption for the periodical The Lowell Offering.

Now Merrimack Repertory Theatre artistic director Courtney Sale has preceded her world premiere adaptation of "A Christmas Carol" with an evocative commemoration of the Lowell visit—complete with a handsome staircase—kudos to scenic designer Shelley Barish—recalling the one where the young women had thronged.

This wonderfully fresh 80-minute no-intermission version also features Boston-based actress Karen MacDonald—who has become a kind of MRT artist-in-residence (recently as Erma Bombeck) as both Dickens and Scrooge.

As with any gifted actress (Cynthia Strickland at Trinity Repertory Theatre comes to mind for this critic), playing Scrooge turns into a very satisfying tour de force. MacDonald—whether sporting top hat or nightcap—immediately convinces as the cantankerous businessman who eventually transforms into a giddy philanthropist and ideal employer. Her evocative gestures, varied facial expressions and vivid body language make her portrayal of Scrooge an instant classic.

Under Sale's seamless direction, she becomes fully involved in the journey on which Scrooge travels with the ghosts of Past, Present and Future—all portrayed with impressive distinctiveness by Kyosin Kong, elegantly attired by designer Becca Jewett.

Tom Coiner is a standout capturing the angst-ridden ghost of business partner Marley and the transcendent good nature and cheeriness of nephew Fred. Christina Acosta Robinson finds Mrs. Crachit's tenacity and Ken Robinson catches husband Bob Crachit's devotion to family. Look for high energy and ensemble strength from adult and child actors alike.

Brian Lilienthal's nuanced lighting moves smoothly from the early darkness of Scrooge's encounter with Marley through the surreal dream state of the ghost visitations-especially the ominous tombstone lighting—to the joyous look of his transformation. Rob Witmer's smart sound design fully complements the changes in Scrooge's fortunes.

The redeemed Scrooge gave credit where credit was due. In that spirit, credit Sale, MacDonald and company for a sublimely intimate reminder of the values, virtues and simple pleasures of Dickens' holiday gem.

The Play That Goes Wrong, Lyric Stage Company of Boston, through December 18. 617-585-5678 or lyricstage.com

Imagine a comedy featuring a playbill with a virtually upside down cover. Add a poster in front of the actual stage area announcing that a certain actor—respectively Chris Evans or Viola Davis, for example—will not appear in the cast.

Expect to see pre-show problems with a mantel piece requiring the help of an audience volunteer and a 'Beware the Dog Cage' warning for missing guard dog Winston. You have just entered a hilarious stage Twilight Zone of bad theater known as "The Play That Goes Wrong" in a sublimely wacky Lyric Stage Company of Boston production smartly helmed by gifted Hub actor-director Fred Sullivan,Jr.

What goes wonderfully right in this wild two-hour collaboration by Henry Lewis, Jonathan Sayer and Henry Shields is the zany unwavering determination by the comedy's fictional Cornley University Drama Society to put on a 1920's style mystery take-off called "The Murder at Haversham Manor." Agatha Christie aficionados will call to mind her long-running "The Mousetrap." Theater buffs will likely see parallels between "The Play" and the antics-rich Michael Frayn comedy "Noises Off."

If Frayn's now classic 1982 gem mixes subtlety and outrageousness, "The Play" opts throughout for belly laugh-inducing errors and slapstick. Look for a wide variety of sight gags and performing mishaps. Doors stick, props fall and precarious set pieces turn Haversham Manor into a character all its own—with kudos to designer Peter Calao. Actors miss lines, overact, underact and enter too early.

By contrast, the Lyric Stage cast displays crack timing, impressive agility and high energy. Nora Eschenheimer —properly harried as leading lady Sandra—is a hoot in a hysterical rant as the mystery's conflicted fiancée Florence. Dan Garcia makes the most of her supposedly murdered fiancé Charles Haversham. Marc Pierre—effectively enigmatic as brother Cecil—is a scene stealer in amusing vocal displays as grand-standing actor Max. Kelby T. Akin has the right robust demeanor as Florence's feisty brother Thomas. Michael Liebhauser is convincingly disarming as Inspector Carter. There is also fine support from Alexa Cadete, Mitch Kiliulis and Dan Whelton

''The Play That Goes Wrong," is a Lyric Stage laugh riot that always goes right.