The somber stage fills with fog.  An old man lies in his bed.  Suddenly, everything – the stage, the bed, the old man’s perspective – starts turning.  This intensely dramatic scene unfolded in Annapolis High School’s production of “A Christmas Carol.”

Charles Dickens’ novella “A Christmas Carol” was written in 1843, brought to theatre as early as 1844, and has since been adapted countless times in stage and radio plays, film, television, and musicals.  Ebenezer Scrooge, a wealthy but miserly and bitter man devoid of generous heart, is visited on Christmas Eve by three ghostly spirits of his Christmases past, present and future.  It is a tale of transformation as Scrooge faces the shadows of his past and present on a journey toward his future, ultimately choosing goodwill and finding redemption.

Annapolis High School’s unique adaptation of this time-honored classic took inspiration from legendary film director Tim Burton, known for his eccentric, gothic style.  This interpretation was evident in the set, lighting, costumes, and make-up.

Brennan Kizer Bell authentically captured the transforming physicality of Ebenezer Scrooge with a strong believable character arc.  He began as the crotchety miser with an aged gait, shuffle, and permanent hunch.  His face bore evidence of tortured anguish at the shadows of what has been, as he was stuck in the bondage of his bedroom platform; his bowed head depicted his shame for ignoring the needs of those in the present, as he was imprisoned in a chair.  As the clock turned and he awakened on Christmas Day with joy in his heart, Bell was transformed to a jovial do-gooder with a giddy dancing step, evoking excited anticipation for the future to come.

Madeline McArdle (1st Spirit), garbed in angelic white with lights, found the perfect balance between childlike innocence and disturbing macabre, alternating between her spine-tingling laughter and an eerily calm presence.  Her soft, understated character contrasted greatly with that of Tristan White (2nd Spirit), who gave a larger-than-life comedic performance.  A unique touch incorporated by Annapolis was the ensemble of Shadows of Time.  These five performers, outfitted in black morph-suits, worked in cognate with Scrooge’s sub consciousness.  They shifted from impish background players, to mimicking characters onstage, to part of the seamless transition team by rotating the platform on stage.

The rotating platform, adorned with wreaths and roman numerals, took center stage, and was turned as the hands/passage of time to delineate the various tableaus of Scrooge’s life.  Compelling lighting design by Lindsea Sharpe enhanced the mood of scenes with appropriate color, focus, and flashes as time moved eerily forward.  At one point, the audience was momentarily blinded by light to symbolize Scrooge’s metamorphosis.  The costumes (Emily Flynn) were time-period specific; make-up (Emily Hawver), particularly the white faces of the Spirits, was in keeping with the Burtonesque adaptation; both added to the overall aesthetic of the show.

As the clock chimed, it became clear that one can learn from the past, embrace the present, and steer the future.  God Bless Us, Everyone!

by Erin Jack  of Glenelg Country