HSC’s “A Christmas Carol” a familiar, comforting holiday treat

3½ Stars
Location: Hartford Stage Company, 50 Church Street, Hartford.
Production: Story by Charles Dickens. Adapted and directed by Michael Wilson. Choreographed by Hope Clarke. Scenic design by Tony Straiges. Lighting design by Robert Wierzel. Original music and sound design by John Gromada. Music director Ken Clarke. Youth direction by Carleigh Cappetta.
Running time: Two hours with one intermission
Show Times: Tuesdays, Wednesdays, Fridays, Saturdays and selected Sundays at 7:30 p.m. There is no evening performance Friday, Dec. 25; Matinee performances are Saturdays and Sundays at 2 p.m. with additional 2 p.m. matinees on Dec. 24, 28, 29, and 30, and additional 7:30 p.m. performances on Dec. 3, 20, and 27.
Tickets: $25 — $66. Children 12 and under save $10. Call 860-527-5151 or visit their website at www.hartfordstage.org.
ACTOR…CHARACTER
Bill Raymond … Ebenezer Scrooge
Bill Kux … Ghost of Jacob Marley, Mrs. Dilber
Robert Hannon Davis … Bob Cratchit
Michael Bakkensen … Fred, Scrooge at 30
Allen Rust … Spirit of Christmas Present, Bert, Mr. Fuzziwig
Johanna Morrison … Spirit of Christmas Past, Bettye Pidgeon
Robert Patrick Sheire … Mr. Marvel
Himself … Spirit of Christmas Future
Rebecka Jones … Mrs. Cratchit
Natalie Brown … Mrs. Fezziwig, Fred’s sister-in-law
Nafe Katter … first solicitor and undertaker
Gustave Johnson … Second solicitor
Michelle Hendrick … Belle, Fred’s wife
Patrick Morrisey … Scrooge at 15
Rebecka Jones … Martha Cratchit
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HARTFORD — Even if you are the most generous, giving soul around, its comforting and helpful to remember the true meaning of the holiday season, the gift of loving and the knowledge that the more you give, the more you get back.
That timeless message is always a welcome reminder, and one the keeps audiences coming back year after year to the Hartford Stage Company’s production.
The ageless Charles Dickens’ tale is about a miserly, bitter, old wealthy man, Ebenezer Scrooge, played by the exuberant Bill Raymond, who loves money more than anything or anyone in the world.
As most know, Scrooge treats his one employee, Bob Cratchit, played with sympathy by Robert Hannon Davis, terribly — refusing to allow him any heat while he works, and begrudges giving Cratchit his one paid Holiday a year — Christmas Day.
Cratchit has a large family to support, and one sickly young boy, Tiny Tim, who is sickly and needs medical assistance the family cannot afford.
It turns out Scrooge wasn’t always such a bad guy in his formative years.
On Christmas Eve Scrooge falls asleep and in his dream has a visit from his former business partner, Jacob Marley, played with dramatic misery by the wonderful Bill Kux.
Marley tells Scrooge he must change his ways or when he dies he will be doomed to the same eternal suffering in the hear-after that he is experiencing.
Next comes three different ghosts, the ghost of Christmas past, the ghost of Christmas present, and the Ghost of Christmas future. The three guide him from his sad neglected childhood to the present, where he hears what others really think of him, good and bad, and then to the future, after he is dead.
Raymond’s Scrooge is meaner and nastier than he was two years ago when he last graced the stage and that is a very good thing. In the 2007 production, he just wasn’t awful enough, making his transformation less meaningful then, but that isn’t the case this year.
The flying and thumping white ghosts that open the show have blank white masks for faces, grotesque movements, and rattling chains continue to be deeply scary, and far too real for children under 8-years-old.
Even for those desensitized kids who can watch the grossest events on the television have a difficult time with this show, because theater is more immediate and visceral.
The original music by John Gromada continues to work beautifully to fully realize the horrific future that awaits Scrooge if he continues on his miserly path.
One of the elements that make Dicken’s tale such a timeless one is the possibility of change and redemption, no matter what our past has been, and that we all have the power to make our lives more beautiful and meaningful.
There’s nothing new here, but, with fine solid direction from Michael Wilson, there’s no need to mess with a very good thing.