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Regional Reviews: Phoenix The Christmas Carol: A Queer Fantasia Also see Gil's reviews of Lea Salonga in Concert, Twist of the Magi, Coriolanus and The Midtown Men–Holiday Hits
New York based playwright James Cougar Canfield is no stranger to the Phoenix area: Ladies in Waiting: The Judgement of Henry VIII, which he wrote and played the title character, premiered at Southwest Shakespeare Company and they'll present his adaptation of The Secret Garden this spring. At a brief post-show discussion after the performance I attended, Canfield stated that the reason he wrote The Christmas Carol: A Queer Fantasia, which premiered in 2019, was that when he told his father he needed to make some money his father told him to write an adaptation of the famous Dickens novella. His launching off point on how to put his own spin on this often-adapted work was when he noticed that the character Dick Wilkins, who was Scrooge's friend when he was working for the Fezziwigs, only appeared in one chapter. He thought there might be more to their relationship. The plot follows the Dickens story fairly faithfully. Ebenezer Scrooge, the miserly, cold-hearted businessman who values wealth above all else, undergoes a profound transformation to become generous and compassionate after confronting his past, present, and future through supernatural visits by three ghosts. Canfield infuses a gay sensibility into the familiar story by making Scrooge a closeted gay man who had a relationship with Dick Wilkins before he chose money and fear from the feeling that being gay wouldn't have been accepted over simply being his true self. Canfield also turns Scrooge's nephew Fred into a gay man who is married to the character Topper as a way for Scrooge to see how same-sex relationships can thrive. These changes add a fun spin to the classic story while still keeping the emotional impact of the dramatic changes in Scrooge; seeing him go from a man with "daddy, abandonment and sexuality issues" to one who is ready to live his true life is quite inspiring. While Dickens purists may scoff at these changes, Canfield makes them all work quite well while respecting the legacy of this classic work of literature. However, the play does lag a bit in spots and under Monica Sampson's direction, which is often quite good, there are some moments that could be tightened, especially in the second act which meanders. There are also moments of camp that, while fun, don't always jibe with the Dickens story. Some scenes are nicely fleshed out from other versions I've seen while others are elongated without adding depth; this is especially true in the last half of the second act where, once the ghost's visits are over, the play is far from over. Also, the character of Cratchit has a lot less to do here than in most versions of the story which makes the outcome of his son Tiny Tim less effective. The cast is quite good, with each the member bringing moments of depth and realism to their performances, making this timeless tale come alive in a fresh way. As Ebenezer Scrooge, Ryan Glover does a fine job balancing the character's initial bitterness and mean-spirited nature with moments of vulnerability and a nicely delivered gradual transformation to an acceptance of his true self. As young Scrooge, Devon Mahon does good work showing the conflicted nature of the character and the societal issues he is faced to deal with. Valentin Mendoza is sweet and charming as Dick Wilkins; the dramatic scenes he shares with both Mahon and Glover are genuine. As the ghosts that Scrooge encounters, Rachelle Dart, Monica Sampson, and Jace Ryden all create fresh takes on these familiar characters. (Ryden's makeup design for his character adds a fun and gay festive touch.) As Scrooge's nephew Fred, Anthony Martinez is bright and full of charm; he does an excellent job as the character who makes Scrooge realize how his life could be. Mary Ryan does well in the dramatic role of Belle, the woman Scrooge chooses over Dick. Mark Knoblauch appropriately plays Bob Cratchit with warmth and quiet strength, and Dezzy O'Connell is full of love as Mrs. Cratchit. Rachel Finley and Tennille Rivera are fun as the Fezziwgs, and Raijene Rodriguez, Megan Holcomb, Hira Ismail, and Taryn Landis create vibrant characters, bringing the heartfelt and festive atmosphere of the production to life. While the set design is fairly minimal, the costumes by Cheryl Zierman and Megan Van Dobben are functional and inventive. Josh Brickhouse's lighting and Danny McNighty's sound design add ethereal moments to the production that provide a nice immersive touch, although sometimes there are dark spots for the cast while the audience is awash in light, and Sampson's staging makes good use of the various exits to give a sense of the story happening all around you. The Christmas Carol: A Queer Fantasia may have a few shortcomings in its plotting and pacing but it does make for an inclusive version of the story as well as a nice adaptation for anyone looking for a gay twist on the classic tale. The Christmas Carol: A Queer Fantasia, a All Queer Shakespeare production, runs through December 22, 2024, at Scottsdale Neighborhood Arts Place, 4425 N Granite Reef Rd, Scottsdale AZ. For tickets and information, please visit www.allqueershakespeare.com Director, Show Choreography and Intimacy Choreographer: Monica
Sampson Cast: |
