Owning Scrooge By Tom Wachunas “I will honour Christmas in my heart, andtry to keep it all the year. I will live in the Past, the Present, and theFuture. The Spirits of all three shall strive within me. I will not shut outthe lessons that they teach.” -Charles Dickens, A Christmas Carol (1843) The last time I saw the Players Guildproduction of A Christmas Carol wasin 2011. The ensuing years have not dulled this lustrous theatrical gem. Infact, director and choreographer Michael Lawrence Akers seems to have sweatedthe small stuff so that some facets of this year’s offering have acquired asparkling new radiance. Joshua Erichsen’sscenic design includes meticulously sculpted 19th centuryarchitectural facades that swivel to reveal period interiors. When paired withthrilling fly effects, the entire set takes on a dramatic dimensionality,further animated by the authentic period costumes by George McCarty II, basedon original designs by Susie Smith and Patricia Hemphill. Then there’s thewowing light and sound design by Scott Sutton, including very effective reverbeffects along with tight spotlighting that makes individual characters seem tomagically glow when they sing. A particularly spectacular and startling effectis the projection of Jacob Marley’s ghostly face on to the door-knocker ofScrooge’s house. The vivacious 11-piece orchestra, led by composer andkeyboardist Steve Parsons, provides a scintillating atmosphere for John Popa’sclever and often compelling lyrics. And finally, the astonishingly talented35-member cast rounds out this list of ingredients which add up to nothing lessthan a benevolent conspiracy to enthrall. The big ensemblechoral numbers are impressively stirring with their sonorous harmonies. Andwhen not front–and-center, the ensemble members are nonetheless adept atportraying authentic townsfolk sincerely engaged with each other throughgestures, shared glances, and animated dialogue. Matthew Horningbrings real warmth and earnestness to his role of Bob Cratchit. His singing of“A Child Alone,” along with the equally earnest Adam Petrosino as Tiny Tim, isone of the evening’s most tender passages. Amanda Medley plays Belle, Scrooge’serstwhile love. When she senses her hold on Scrooge slipping away, theheart-piercing sweetness of her voice, tinged with palpable hurt, is rivetingas she sings “I Have To Know.” In her airbornerendering of The Ghost of Christmas Past, Sarah Marie Young is mesmerizing asshe sings “Walk With Me” to an incredulous-looking Scrooge in tow. There’s asoothing resonance to her soprano tonality that imbues her character withchildlike innocence, subtly tempered with gentle wisdom and even a bit ofirony. The tonalmuscularity in Bart Herman’s voice is well-suited to his roles of Mr. Fezziwig,Scrooge’s former boss, and the Ghost of Christmas Present. As Fezziwig, he’sthe picture of magnanimous joviality. As the Ghost, he’s alternately ebullientand authoritative in a cautionary sort of way. Other strongperformances include Matthew Heppe in his dual role of Fred, Scrooge’s affablenephew, and Scrooge as a young workaholic, especially engaging when he sings“Ten Minutes More.” The evening is peppered with memorably funny scenes such asthe jaunty “Mister Scrooge.” The song features The Collecting Men - a trio ofcharity solicitors played by Tyler Ferrebee, Doug Lisak, and Greg Rininger (whoalso turns in a chilling portrait of Jacob Marley’s ghost) - who cavort andcajole with quasi-vaudevillian glee, their harmonies reminiscent of old-timeyradio jingles. This performancemarks the sixth appearance of Don Jones in the role of Ebenezer Scrooge. Aseasoned veteran of the stage, it’s clear that he’s never stopped fine-tuningthe nuances of his character to become more emotionally expansive. Here, he’swholly in the moment(s) as he progressively sheds a convincingly irascible,selfish persona and steps into compassionate living. When he’s cruel, weshudder at his vitriol; when remorseful, he breaks our hearts; when redeemed,we’re giddy with elation right alongside. I think it fair to say that Jones (andfor that matter the entire cast and production staff) owns Scrooge in the sameway one would possess and care for a precious family heirloom. Precious indeed,this production. The Players Guild’s continuing commitment to this iconic storyis a necessary and brave tradition of holding up a much-needed light andgenerous measure of grace in an ever-darkening world. It’s surely an artful epiphanythat blesses us, every one. A Christmas Carol, The New Musical, with music by Steve Parsons, book and Lyrics byJohn Popa (originated in 1997), atPlayers Guild Theatre, 1001 Market Avenue N, Canton, Ohio, THROUGH DECEMBER 20,2015 / Shows on Friday at 8:00 p.m., Saturday at 2:00 and 8:00 p.m., Sunday at2:00 p.m. / Single tickets:$26/ 17 and younger: $19/ Seniors: $23 / Box Office330.453.7617 / www.playersguildtheatre.com For other commentaries by Tom Wachunas onCanton-area arts, please visit ARTWACH at www.artwach.blogspot.com