(Rebecka Jones and members of the Youth Company in A Christmas Carol: A Ghost Story of Christmas (2025). Photo by T. Charles Erickson.)

by Tim Leininger

HARTFORD — Traditions are traditions for a reason. Something about it in its conception captures the imagination and fascination of the cultural zeitgeist and it becomes something that people can’t imagine ever being without. Sometimes, though, even the great traditions start to show just a little wear.

            Such is the case with Hartford Stage’s production of A Christmas Carol: A Ghost Story of Christmas, celebrating its silver anniversary with its 25^th run at the theater, at 50 Church St. in Hartford, Connecticut.

            Adapted for the stage from the Charles Dickens novella and directed by former Hartford Stage Artistic Director Michael Wilson, A Christmas Carol is a Hartford institution, and I lamented during the COVID-19 pandemic and the following couple years being without it. I will always be happy to walk into the Hartford Stage theater and see the bridge, clock and Victorian London skyline designed by scenic designer Tony Straiges. That does in part have to do with my two years of working as part of the backstage crew. Two years that I will forever cherish.

The show, in its core, aims to be true to Dickens’ original text. There are a few liberties taken to give it its own flavor, but most of the dialogue is lifted straight out of the novella. The play, like the story, follows Ebenezer Scrooge (Guiesseppe Jones), a miserable miser who hordes his wealth with no consideration for the needs of others. On Christmas Eve, he’s visited by the ghost of his deceased partner Jacob Marley (Noble Shropshire), who tells him that he will be visited by three spirits with the purpose of having Scrooge repent of his greed and consider the good of others. The three spirits come showing him his Christmas past, events that he has influence on for Christmas present, and what Christmas future may be if he doesn’t change his nature. This is where the show still shines, in its faithfulness to the original text and the aim for depth and heart.

(Guiesseppe Jones in A Christmas Carol: A Ghost Story of Christmas (2025). Photo by T. Charles Erickson.)

            With 25 years, the play has rotated many cast members. Jones is at least the fourth Scrooge I’ve seen, and he plays the role with a bit more reserve than most other Scrooges, which I think is a good thing. Scrooge is a horrible, miserable human being, and when actors lace the performance with humor, by making him knowingly be funny, it undercuts the most serious part of the play. Not that there can’t be humor in his scenes, but he should be the butt of the joke, not the instigator. Jones understands this.

            The show’s levity comes from the counterweight of the other characters, who are in Scrooge’s circle. There’s his overworked, underpaid clerk, Bob Cratchit (Patrick O’Konis), Scrooge’s nephew Fred (Erik Bloomquist), and the various vendors that Scrooge collects money from. With Scrooge devoid of any Christmas spirit, it falls on the actors who play these characters to keep a sense of joy in the play. This is where this year’s production falters. O’Konis, Rebecka Jones as Bettye Pidgeon the doll vendor, and Stuart Rider as Bert the fruit and cider vendor are all great. Regardless of how sad and miserable their stories may be in the moment, these characters are still able to find joy in their lives, and the actors express that. Unfortunately, Bloomquist and Daniel Madigan, who plays Mr. Marvel the watchworks vendor, didn’t hit it this year. The scene where Fred comes to visit Scrooge at his counting house, was particularly missing the measure of Christmas spirit Fred should have in trying to coerce his uncle to visit for Christmas dinner. It’s Fred’s joy that triggers Scrooge’s ire, and since it was lacking, it falls flat this year.

(The cast of A Christmas Carol: A Ghost Story of Christmas (2025). Photo by T. Charles Erickson.)

            As much as I love the design of the production, from Straiges’ sets to Robert Wierzel’s haunting lighting, and as much as I also love Alejo Vietti’s costume design (originally designed by Zack Brown), I’ve determined that I’m not a fan of the design for the skull masks for the ghosts that appear throughout. They feel very rubbery and lacking individualistic. It’d be nice if they were a bit varied and had a bit more depth to them.

            Regardless of some of this year’s production’s shortcomings, A Christmas Carol is still one of the best holiday events you will see this or any year. Wilson’s vision is still as beautiful today as it was when it first premiered over 25 years ago. The inspirational journey of Scrooge is still just as relevant today as it was in 1843 when the book was published, and Guiesseppe Jones plays the role with grounded weariness. Though there are some faltering elements in several performances and design, it is still a great Connecticut institution.

A CHRISTMAS CAROL: A GHOST STORY OF CHRISTMAS

TICKETS: https://www.hartfordstage.org/

PRODUCTION: Written by Charles Dickens; Adapted and Directed by Michael Wilson; Original Choreography: Hope Clarke; Choreography Reproduced by Derric Harris; Scenic Design: Tony Straiges; Costume Design: Alejo Vietti; Lighting Design: Robert Wierzel; Sound Design & Original Music: John Gromada; Original Costume Design: Zack Brown; Wig Design: Brittany Hartman; Flying Effects: ZFX, Inc.; Dialect & Voice Coach: Johanna Morrison; Music Director: John Fitzpatrick; Fight Coordinator: Michael Rossmy; Youth Coordinators: Shelby Demke & Noah (Ren) Roy; Wig & Hair Coordinator: Jodi Stone; Original Dramaturg: Christopher Baker; Casting: Alldaffer & Donadio Casting; Production Stage Manager: Kelly Hardy; First Assistant Stage manager: Chandalae Nyswonger; Second Assistant Stage Manager: Campbell Anidjar; Associate Artistic Director: Zoë Golub-Sass; Director of Production: Bryan T. Holcombe; General Manager: Emily Van Scoy

CAST

Guiesseppe Jones as Ebenezer Scrooge

Noble Shropshire as Mrs. Dilber, his housekeeper/Jacob Marley

Patrick O’Konis as Bob Cratchit, his clerk

Erik Bloomquist as Fred, his nephew/Scrooge at 30

Leslie Blake Walker as Fred’s Wife/Belle, affianced to Scrooge

Kenneth De Abrew as First Solicitor/Mr. Fezziwig

Roberth Hannon Davis as Second Solicitor/Undertaker

Walker Kaul as Mr. Toby

Rebecka Jones as Bettye Pidgeon, a doll vendor/Spirit of Christmas Past/Old Jo

Natalie Brown as Beggar Woman/Mrs. Fezziwig/Fred’s Sister-In-Law

Christina Rielle as Rich Lady/Fiddler

Stuart Rider as Bert, a fruit and cider vendor/Spirit of Christmas Present

Daniel Madigan as Mr. Marvel, a watchworks vendor

Max Ashford as Scrooge at 14

Celia Castillo-Torres as Nichola, Fezziwig’s daughter

Lauren Bries as Wendy, Fezziwig’s daughter

Eric Orsini as Dick Wilkins

Guests at Fezziwig’s Party: Max Ashford, Ray Cain

Emily Bosco as Mrs. Cratchit

Hannah Fidler as Martha Cratchit

Ray Cain as Mr. Topper

Guests at Fred’s Party: Max Ashford, Lauren Bries, Walker Kaul, Christina Rielle

Spirit of Christmas Future as Himself

Ghostly Apparitions & Citizens of London: Max Ashford, Lauren Bries, Ray Cain, Celia Castillo-Torres, Hannah Fidler, Eric Orsini, Leslie Blake Walker

Theodore “Teddy” Curren or James Salvo as Tim Cratchit

Braelyn Lane or Aria Pierce as Spoiled Child

Schoolboys: Addison “Addy” Curren, Vivienne Gates-Graceson, Braelyn Lane, McKenna Pettie-Uzoka, Aria Pierce, or Saige Stewart

Cru Aspen Lyles or Coralie Frumkin as Boy Scrooge/Fred’s Son

Addison “Addy” Curren or McKenna Pettie-Uzoka as Fred’s Daughter

Isabella Lundy or Gibson Quinn as Fan, Scrooge’s sister

Avery McMahon or Serena Hoffman as Claire, Fezziwig’s Daughter

Vivienne Gates-Graceson or Saige Stewart as Belinda Cratchit

William Schloat or William Griffith as Peter Cratchit

Orlandus “Zeke” Lane or Evely “Evy” Butterfield as Fruit Child/Ignorance

Adelina McGinnis or Campbell Mills as Cider Child/Want

Sawyer Delaney or Avery Mills as Turkey Boy

Andrew Michaels or Julia Sheehan as Lamplighter