THEATER REVIEWS
A LONE STAR CHRISTMAS CAROL
Circle Theatre
Book by Gary Moody
Music and Lyrics by Gary Moody and Gary Taylor
Directed by Chris Robinson
Scenic Design - Bill Newberry
Costume Design - Drenda Lewis
Lighting Design - John Leach
Sound Design - David H.M. Lambert
Properties Design - Cathy O’Neal
Musical Direction - Gary Taylor
Choreography - Eddie Floresca
CAST
Jeff McGee
Gary Moody
Burl Proctor
Rachel Rice
John Venable
Heatherton Hardy Wilson
MUSICIANS
Charles Crawford
Rick Norman
Gary Taylor
*REVIEWED 11-21-09 PERFORMANCE.
Reviewed by Mary L Clark, Associate Theatre Critic for
John Garcia’s THE COLUMN
_________________ A LONE STAR CHRISTMAS CAROL________________
Why another Christmas Carol? Actually, that question was raised in the playbill
notes. I had asked myself the same question. Why should a theatre go to all the
effort of dragging out that old chestnut of a story in yet another variation?
But, you know, with this entire recession hum bug, I was ready for a little
Christmas and it was with that question in mind that I meandered over to Fort
Worth in search of the answer.
A Lone Star Christmas Carol, the new musical by Gary Moody and Gary Taylor, is being performed at Circle Theatre in the heart of Sundance Square just minutes from the stockyards. Couldn’t get any more Texan than that so the location was appropriate but still, why A Christmas Carol and a musical to boot? (Pun intended)
You see, I’m not a big country and western fan. I tend to think of the music as
somewhere between Hank Williams and Hee Haw. The set of A Lone Star Christmas Carol didn’t help matters. A simple, loose-slatted wall with large double doors was the barn turned into hoedown or the proverbial “let’s put on a show in the barn”.
The three piece country band, aptly named The Taylor-Made Boys, stepped onto the center platform playing the overture to get us all into the country swing while
audience members were still being seated. It was Texas twang all the way but by
the time the Narrator took stage in white Stetson, vest and boots uttering the
classic opening line, “Marley was dead”, the country spell was set.
Each actor came out wearing jeans, pencil skirts, yoked shirts and lots of
boots. You would have thought you were at the Grand Ole Opry. Their enthusiasm, high energy and obvious love of what they were doing was instantly infectious and melted all (mostly all!) of any preconceived hokiness away and left us with that age old story of man’s redemption. Now, if you are not familiar with A
Christmas Carol, may I suggest you go to your nearest library and look under D
for Dickens.
Simplicity was the word here. A bench or chair, a box or barrel or stool deftly
transformed Scrooge and us through all the time periods and visions of his one
night.
Adding simple costume pieces and few or invisible props, Director Chris Robinson believed enough in the audience’s intelligence to understand exactly what was taking place in each scene. Belief was big in this show. Not only belief in man’s humanity to man but the actors’ belief in the story and in themselves so
we could see each imaginary platter or glass, the weight of the huge turkey
Scrooge bought for the Cratchitts or Tiny Tim on his father’s shoulder.
The audience easily accepted different actors portraying the same character or
an adult playing Tiny Tim. It did not matter because the actors were so
committed to the work.
The book for A Lone Star Christmas Carol is by Gary Moody with music and lyrics by both Gary Moody and Gary Taylor. Moody’s dialogue is full of what they call “Texasisms” such as “it’s hotter’n a hog on a hot plate”. While country to the
core the songs added such depth of emotion, both comedic and dramatic, to the
story. As with any good country song, they were a bit bawdy or a bit funny or
brought a tear to the eye.
Many, many times in this production, I was drawn right out of Texas and into
Dickens’ world and then, in a blink, back to the barn. I kept thinking how
simple a concept the show was though what the actors did was far from simple.
Precisely staged, each actor/singer was either narrating or moving a chair, box
or microphone stand into the next scene almost before the last scene was
finished, it was that tight. Circle Theatre has a small thrust stage with
three-sided seating and not a single audience member was left out which is an
art in itself. The actors reached us with their eyes as well as their voices
and never let us go.
Director Robinson assembled one of the most competent and, more importantly, one of the most compatible group of actors I have been privileged to see. They had to be – six actors and three band members playing all the many ages and
dispositions of people for which Dickens is well known. There are truly few who
can sing beautifully, understand and then become such varied characters,
bringing the audience along, with such grace and conviction as those in A Lone
Star Christmas Carol.
Gary Moody, as Narrator, walked in and out of scenes, cane in hand, with an Our
Town, Mark Twain or Waltons feeling. He was the Everyman in this story. His
small role as Tiny Tim was played with childlike sincerity without being childish. Burl Proctor got to be Big Bad Scrooge, dramatically entering through the double doors decked all in black from his hat and duster coat to his boots. Instead of sleeping gown and night cap, Scrooge traveled through time in an old, wrinkled navy bathrobe.
Looking similar to a younger Kenny Rogers, Proctor played Scrooge low key with
subtle discontentment and resentment rather than over the top grouchy like a
certain Jim Carey. His songs wonderfully aided him in that subtle depth. Rather
than one who only at the end sees the error of his ways, this Scrooge was
introspective and questioning throughout. Proctor had a dusky quality to his
voice, suited to the role.
The remaining four actors/singers took on the majority of the characters and
transitioned from large role to small part, from comedic to dramatic with no
hesitation and complete sincerity. Jeff McGee was having a blast with each
character, giving great comedy to Marley’s Ghost. He added a little evangelical
preacher showmanship to his song as Old Joe making him that much “scarier”.
Rachel Rice gave such tenderness to Belle with her musical ingénue beauty and
amazing lyrical voice.
John Venable might just as well head for the country music circuit with his rich
singing style. He handled both Fred, Scrooge’s nephew, and young Scrooge with
clear understanding of the vast difference. Most of the female comic roles were
rightfully given to Heatherton Hardy Wilson and she gave memorable quality to
each.
She switched from Minnie Pearl sweet to Carol Burnett daffy brilliantly and then took on the more serious parts with competence.
It was a delight to actually see the musicians onstage in a musical rather than
in the pit. Gary Taylor played lead guitar, Charles Crawford played guitar and
Rick Norman played bass, as in upright. It was enjoyable watching them play
small parts as needed and, again, it simply did not matter, the story was that
compelling. The music and songs were of such surprising quality they could
compete at the CMA Awards or go into stores as Christmas classics. Both Garys
had such an understanding of the deeper layer in each character and the lyrics
enriched them far beyond Dickens’ original words.
Robinson took the talents of each person and simply allowed them to shine. No
set, no props, no staging got in the way of showcasing such quality performances
and they made it look easy – that is the mark of good direction.
Bill Newberry’s set and Cathy O’Neal’s props were basic browns and beiges and
completely appropriate for the show. Costumer Drenda Lewis provided the rich
colors and muted plaids that so perfectly highlighted each actor and character.
Sound designer David H.M. Lambert recreated the most important striking of the
clock and Texas blue northern wind and sent chills with the ominous voice of
Christmas Past. Even more basic was John Leach’s light design. His use of solid
colors illuminating the back scrim and eerily bleeding through the barn wall
reflected the emotion of each scene and, to us, a single string of Christmas
lights became the stars.
As Tiny Tim called out “God bless us everyone” and the band struck up the
finale, we were all clapping and foot tapping and, not wanting it to end, they
played a little more to lead us out.
So. . . am I a country western music convert? Well, no, but ask if I had a darn
good time and it’s a resounding yes. Great music, great singing and great acting
can do that for you. Smiles were bountiful and the music was hummable. (Small
unsolicited plug – you can take home the CD just like on Broadway!)
Circle Theatre’s space is modern, warm and inviting. A Lone Star Christmas Carol is an old story made modern and as equally warm and inviting. In Dickens’ own words, it will allow you to “keep Christmas (and the holidays) well”. Find your
way on over and grab some holiday spirit. You wouldn’t want to be a Scrooge now, would you?!
Reviewed by Mary L Clark, Associate Theatre Critic for
John Garcia’s THE COLUMN
_______________________________________________________________
A LONE STAR CHRISTMAS CAROL
Circle Theatre
230 West 4th Street
Fort Worth, TX 76102
Through December 19, 2009
Performances are Thursday evenings @ 7:30 PM; Friday and Saturday evenings @ 8:00PM and Saturday matinees @ 3:00 PM
Tickets run from $20 to $30. Discounts are available for children, senior
citizens, students and groups. Please call 817-877-3040 for tickets and
information.
