Stephen King meet Mark Clements.
Clements, the Artistic Director of The Rep, channels the famed horror story writer in year two of the staging of his adaptation of “A Christmas Carol” which opened Friday night at the Pabst Theater.
In this, the 42nd annual Rep production of the Charles Dickens story, Clements has transformed what was a production seeking to find its feet into a spectacular story, full of horrors and suspense that gave free rein Jonathan Wainwright to create an Ebenezer Scrooge with a depth and slow conversion that is at the heart of the journey.
Mr. Clements vividly demonstrates in this production that he has a penetrating look into what a play needs to carry and deliver all the power it can.
Perhaps the most glaring difficulty in the first staging of this production was that, despite being surrounded and supported by unmatched sets and costumes, the conversion of Scrooge from nasty and cruel miser to a Christmas angel happend to quickly.
This year the agonizing journey of Mr. Wainwright seemed endless as he was faced with vivid echoes of his past, from young boy to young man to aging skinflint. The suspense in the audience was palpable.
Clements has turned this warm-hearted transformational tale into a suspense story where everybody knows the ending but warmly embraces the expedition to get there.
This in large measure is the work of the three Ghosts (of Past, Present and Future), who take Scrooge on this safari through a land of dreams.
Deborah Staples is up first as she takes control and freezes Scrooge in her embrace to visit the things that turned him into the monster he now is.
From a young boy who won’t visit a friend for Christmas out of fear of the wrath of his father to a young man (Christopher Peltier) in love with the ravishing Belle (Arya Daire) but unable to overcome his social awkwardness to pursue her.
Ms. Staples is an absolute mesmerizing presence, capturing the almost vicious determination and delight in exposing to Scrooge, the horrors of his early behavior in life. She seems to float across the stage with an occasional plea to the audience for permission and encouragement to continue ravishing Scrooge with a memory of his own life.
Next up is Ghost of Christmas Present with the Todd Denning clad in a lush green with white trim and a beard and curl of hair. Mr. Denning’s ghost it full of humor as he guides Scrooge through his life, including the decisive scene of the holiday dinner with the family of Bob Cratchit (Reese Madigan).
Mr. Wainwright is fearfully horrified after coming face to face with Tiny Tim and wonders if the child will survive. It is the first and most graphic of the metamorphosis of Scrooge from tyrant to a man filled with the warmth of humanity.
Finally the Ghost of Christmas Future (Brade Bradshaw) drives the final stake into the cold, cold heart of Scrooge. In a Darth Vader costume, complete with shining bright red eyes, Mr. Bradshaw is silent as he directs Scrooge to what is on the painful horizon if he doesn’t change his ways.
The disintegration of Scrooge has come first circle and the Mr. Wainwright’s collapse is like a Christmas gift for all of us in the audience. It was wrapped in a brown paper bag of rapicious greed and now the ribbon is off, the Scotch tape has been torn and the paper is teetering on the edge of disappearance.
This adaptation by Mr. Clements has become a fascinatingly layered mounting of this classic, with added details and depth and backstory of nephews, friends, employees and others who have dipped into Scrooge’s life.
Mr. Wainwright made his debut as Scrooge last year and seemed a little overwhelmed by the scope of the role. This year he has become the full owner of Scrooge, finding the cloistered and bound presence of this miser before exulting in the freedom and joys of his holiday committment.
He has become an actor of prodigious skills and they are all on full and vibrant display here.
Mr. Clements has reworked his adaptation into what will become a classic for Milwaukee Christmas seasons to come. It is assuredly time to recognize that there is a wisdom in “leaving well enough alone.” His Christmas Carol is now well enough to leave alone.
“A Christmas Carol” runs through December 24 at The Rep.
Production credits: Director, Mark Clements; Music Director, Dan Kazemi; Scenic Designer, Todd Edward Ivins; Costume Designer, Alexander B. Tecoma; Lighting Designer, Jeff Nellis; Sound Designer, Barry G. Funderburg; Original Music Score, John Tanner; Stage Movement Director, Michael Pink; Production Dramaturg, Brent Hazelton; Dialect Coach, Jayne Pink; Casting Director, Frank Honts; Make-up/Hair/Wig Designer, Lara Leigh Dalbey; Associate Director, Leda Hoffmann; Stage Manager, Rebecca Lindsey; Production Photographer, Michael Brosilow.