Review: ‘A Christmas Carol’ warms hearts at Metropolis

Well, here we go again – the umpteenth viewing of that beloved Dickens holiday classic, “A Christmas Carol.” Yet, there’s something different about this production at Metropolis in Arlington Heights – it’s not so tried-and-true thanks to masterly direction by lead artistic associate and casting director Robin M. Hughes, enchanting music direction by Ken McMullen (music plays a big part of this show) and entertaining choreography by Emily Brooks.

Yes, it leans on the comfortable traditional side, but Krista Scott’s adaptation breathes new life and more polish into the sentimental tale we know so well. I’m sure Dickens would have approved, as he penned “A Christmas Carol” during a time when Britain’s mid-Victorians were reevaluating Christmas traditions old and new. Under Hughes’ direction, it is well-paced and streamlined. With hued and expressive lighting by Michael Wagner, sound design by Matt Kania, and the colorful brocades and velvets of Carol Cohen’s costume coordination, this production is visually and aurally captivating.

The play begins with a sleeping-on-stage beggar (Jim Heatherly) awakening and calling, “Hey, ho nobody’s home” as an invitation to be joined by the ensemble making their own entrances through the audience. And what an ensemble it is of 28 enthusiastic talents admirably playing multiple roles. They look good, they sing well and their dancing is joyous. And there are so many notables.

David Tibble returns as Bob Cratchit; his character is perfectly noble, charming, kind and humble. Daniel Dauphin is a genial, maturely buoyant Fred who perseveres and wants nothing more from his uncle except to be friends. His Fred is always pleasant, forgiving and optimistic. The aforementioned Heatherly also plays a frighteningly chained, very unnerving Marley, who cannot rest, and later a sprightly jovial Fezziwig. Lanah Vurnakes (in rotation with Olivia Tibble) is a sweetly innocent Tiny Tim, and the two Charity ladies/charwomen Annie Beaubien and Genevieve Corkery are magnanimously brave, funny and indignant.

Max McNeal Martin as young Scrooge and the later “yes-no” game participant possesses the best deportment in style and posture with a beautiful singing voice particularly showcased in a duet with Maura Fawley’s loving Belle.

And, of course, there are the infamous purveyors of Scrooge’s supernatural adventures, the three spirits of Scrooge’s misguided past, isolated present and tragic future. Eve Moyar is happily resplendent in glittering white and gold, and is a sparkling introduction of Scrooge’s Christmas Past until memories become painful; her joy decreases as she conveys both well. A seated Jim LaPietra begins act two as the Ghost of Christmas Present. He is jolly and jubilant in his ermine and holly wreath, majestic in stature and voice; Brenden Zwiebel is the silently ominous, gliding, funeral-clad ghost of Christmas Future. Their collaboration with Marley’s warning brings about Scrooge’s transformation very credibly.

But this production truly belongs to Crystal Lake resident Stephen “Steve” Connell, marking his 20th anniversary at the Metropolis. He first portrayed that miser who holds the world in contempt in 1996, in an Elgin production, and began playing Scrooge at the Metropolis in 2002. When asked why he keeps returning to the character of Scrooge, Connell replied he enjoyed the chance to reach a “deeper level” of a very complex character each time he’s given the opportunity. “There’s always a new cast and a new director to help with the interpretation.”

But let me simplify it for you. Connell IS Scrooge. Literally. He’s tall, angular, silver-haired and grizzled. He’s articulate with crisp pronunciation; his voice and face are expressive registers of every emotion from grumpy to scared to ecstatic to loving. He also executes physicality: he falls, he crawls, he jigs. His portrayal in several scenes, particularly when reliving Belle’s departure, will tear your heart in two. Connell showcases that ultimate redemption and transition believably and joyously. You truly don’t like him in the beginning, but you’ll love him by the end. As an actor, he possesses a certain prowess in delivering a character who has to project a range that very few other characters in theater have to do.

There has to be a reason why Dickens’ novella has never been out of print since 1843. It’s been adapted to opera, ballet, stage musicals, cartoons, 135 films and even a BBC production in mime by Marcel Marceau (aren’t you curious about that one?). Everyone from The Muppets to Sir Patrick Stewart have performed “A Christmas Carol.” Fortunately, the heart-warmer is back at the Metropolis, a special present of holiday cheer.

[There will be a signed performance Dec. 8, and a sensory-friendly one Dec. 18.]

• Regina Belt-Daniels loves all things theater. She has stage managed, produced, acted, directed and is still learning. Recently nominated for a Broadway Regional Award for “I Hate Hamlet,” which she directed, she hopes there is no “Bah, humbug!” in anyone’s Christmas.

IF YOU GO

WHAT: “A Christmas Carol”

WHERE: Metropolis Performing Arts Centre, 111 W. Campbell St., Arlington Heights

WHEN: Through Dec. 24

COST: $35, $20 for students

INFORMATION: 847-577-2121, metropolisarts.com