sign in sign up
<<
Home , A Christmas Carol, The Christmas Carol

Wurtele Thrust Stage / Nov 14 – Dec 30, 2017

A Carol by adapted by CRISPIN WHITTELL directed by LAUREN KEATING

PLAY GUIDE Inside

THE PLAY Synopsis • 3 Characters • 4

THE STORY This Ghostly Little Book • 5

PLAY FEATURE Charles Dickens’ Plea for the Poor • 6,7

THE PLAYWRIGHT Dickens and the Christmas Tradition • 8,9

BUILDING THE PRODUCTION From the Director: Lauren Keating • 10,11 From the Composer: Keith Thomas • 12 From the Costume Designer: Matthew J. LeFebvre • 12,13 From the Playwright/Adaptor: Crispin Whittell • 14 From the Props Master: Patricia Olive • 15,16

ADDITIONAL INFORMATION Discussion Questions and Classroom Activities • 17 - 19 For Further Information • 20 - 21

Play guides are made possible by

Guthrie Theater Play Guide Copyright 2017

DRAMATURG Jo Holcomb GRAPHIC DESIGNER Akemi Graves RESEARCH Jo Holcomb and Carla Steen

Guthrie Theater, 818 South 2nd Street, Minneapolis, MN 55415 All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this Play Guide ADMINISTRATION 612.225.6000 may be reproduced in any form or by any means, electronic BOX OFFICE 612.377.2224 or 1.877.44.STAGE TOLL-FREE or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in guthrietheater.org • Joseph Haj, artistic director writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers.

The Guthrie Theater, founded in 1963, is an American center for theater performance, The Guthrie Theater receives support from the National production, education and professional training. By presenting both classical literature and Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation new work from diverse cultures, the Guthrie illuminates the common humanity connecting by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from Minnesota to the peoples of the world. the National Endowment for the Arts.

2 \ GUTHRIE THEATER THE PLAY

Synopsis

toast nonetheless, grateful for what he has.

The scene shifts to his nephew Fred’s, and we see simultaneously how the other (richer) half live and that Fred, too, knows how to keep Christmas with friends and family. Generously, Fred proposes a toast to his uncle as well, hoping that will find some happiness in life. Games abound, food is PHOTO: DAN NORMAN The cast of A in rehearsal plentiful and a good time is had by all. Scrooge begins to wonder if he Scrooge, a miserly and miserable and the of Christmas Past is truly missing something special. old man, torments everyone appears. Together they journey Before the spirit leaves him, he he sees on most days, but is back to Scrooge’s sad school days, reveals two small, sick children especially cranky on Christmas. He his delight at seeing his sister – Ignorance and Want – and shouts at carolers, refuses to give Fanny, and to a grand Christmas Scrooge, moved, inquires if they money to charity and threatens party thrown by his early have no place to stay. The spirit a small beggar boy. His ebullient employer, Old Fezziwig. Scrooge throws Scrooge’s words back in nephew Fred comes to visit him begins to realize that Fezziwig’s his face: “Are there no prisons? Are at his frigid office to invite him joy was infectious, that it spread there no workhouses?” Christmas to . Scrooge, to all his employees, and that this Present, too, fades away. predictably, declines. Fred leaves, joy is worth more than whatever and Scrooge grudgingly agrees the party cost him. We also see The next visit, from Christmas to give his clerk, , Scrooge woo, and then lose, the Future, shows Scrooge his fate Christmas off with pay, though beautiful Belle. The ghost tells if he does not mend his ways. Scrooge feels ill used by this. Scrooge, “I show you only what is Poor Tiny Tim has died; as has Cratchit leaves. When approached good, and fine, and beautiful. So Scrooge. At Tim’s funeral are by his faithful housekeeper, Mrs. that should you glimpse it again – many grief-stricken people; Dilber, for the same benefit, he as you glimpsed it once – you will Scrooge has not a single mourner. refuses and demands that she grasp it as if your life depends on Mrs. Dilber begins to sell off his be at work the next day. Scrooge it.” As quickly as she arrived, the possessions, and Scrooge realizes closes shop and changes into his ghost is gone, leaving Scrooge that he must mend his ways or dressing gown. alone again in his bed. he will simply die forgotten and unloved. The transformation of Settling in for the night, Scrooge Scrooge is soon visited again by Scrooge is profound: he awakens is disturbed – and alarmed – by the Ghost of Christmas Present. to Christmas bells, gives money the ghost of his old partner, Jacob The ghost takes Scrooge to to charity, sends a huge turkey Marley. Marley warns him to mend see how the Cratchits celebrate to the Cratchits, sings along with his ways or he too will be forced Christmas. Though they are poor the carolers, and gives Bob a big to roam the earth in the chains he and have little to eat, they are raise. He even reconciles with forged for himself with his cruel happy with what they have and his nephew. Scrooge’s story of ways. Scrooge will be visited by to be in each others’ company. redemption, beloved by audiences three spirits, Marley tells him. Scrooge also learns that Tiny Tim, for years, remains as powerful He would do best to listen to Bob’s wise young son, is very ill and uplifting as it ever was. From what they have to say. No sooner and will likely die without proper that point forward, we’re told, no has Marley left than the clocks care. Despite how poorly Scrooge one kept Christmas as faithfully or in Scrooge’s house go berserk treats him, Cratchit offers him a fruitfully as old .

GUTHRIE THEATER \ 3 THE PLAY

Characters

PHOTO: DAN NORMAN The cast of in rehearsal

SETTING London, December 24–25, 1843

CHARACTERS Ebenezer Scrooge, a miserly Ghost of Christmas Future Dick Wilkins, a fellow clerk at businessman Ignorance and Want Fezziwig’s Bob Cratchit, his clerk Youngest Scrooge, Ebenezer Belle, Scrooge’s former fiancée Mrs. Cratchit, his wife Scrooge as a schoolboy Belle’s Husband Martha, Peter, Belinda and Tiny Fanny, Scrooge’s older sister Mr. Wimple, Scrooge’s tenant Tim, their children Mr. Fezziwig, Scrooge’s former Mrs. Dilber, Scrooge’s Fred, Scrooge’s nephew employer housekeeper Kitty, Fred’s wife Mrs. Fezziwig, his wife Old Joe, a junk salesman Mrs. Polkinghorne, Kitty’s mother Daisy, Dora and Deirdre Scrooge’s Priest Jane, Sally and Mabel, Fezziwig, their daughters Bunty and Bumble, taking a Kitty’s sisters Daniel, David and Donald, collection for the poor Topper, a suitor to Sally suitors to the Fezziwig daughters Various carolers, revelers, , the ghost of Young Scrooge, Ebenezer children, Fezziwig guests, Scrooge’s old Scrooge as a young man citizens of London business partner Young Marley, Jacob Marley as a young man Ghost of Christmas Present

4 \ GUTHRIE THEATER THE STORY “This Ghostly Little Book” comments on A Christmas Carol

be kindness, benevolence, charity, mercy, and forbearance, or its plum pudding would turn to stone and its roast beef be indigestible.

John Forster

The Life of Charles Dickens, 1874

The narrow space within which it was necessary to confine these Christmas Stories, when they were originally published, rendered their construction a matter of some difficulty, and almost necessitated what is peculiar in their machinery. I never attempted great elaboration of detail in the working out of character within such limits, believing that it could not succeed. My purpose was, in a whimsical kind of masque which the good- humour of the season justified, to awaken some loving and forbearing thoughts, never out of season in a [A Christmas Carol] is a national I have endeavored in Christian land. this Ghostly little book, benefit, and to every man and woman who reads it a personal Charles Dickens to raise the Ghost of an kindness. Preface to a collection of his Christmas Idea, which shall not Stories published in 1852 put my readers out of William Makepeace Thackery Fraser’s Magazine, February 1844 humour with themselves, with each other, with There was indeed nobody that had the season, or with me. not some interest in the message of . It told May it haunt their houses the selfish man to rid himself of pleasantly, and no one selfishness; the just man to make wish to lay it! himself generous; and the good- natured man to enlarge the sphere of his good nature. Its cheery voice Their faithful friend and servant, C.D. of faith and hope, ringing from one end of the island to the other, Charles Dickens carried pleasant warning alike to A Christmas Carol, December 1843 all, that if the duties of Christmas were wanting, no good could (Top) Image of A Christmas Carol, come of its outward observances; first edition, 1843

that it must shine upon the hearth (Above) A boy dressed as a ghost upsets a and warm it, and into the sorrowful gathering of friends. Print by John Massey Wright, 1814, part of the British Cartoon heart and comfort it; that it must Prints Collection

GUTHRIE THEATER \ 5 PLAY FEATURE

Charles Dickens’ Plea for the Poor

by Jo Holcomb Production Dramaturg

Over the years, Charles Dickens has often been credited as the “man who invented Christmas” (F.G. Kitton, 1903). But while Dickens’ Christmas stories, certainly the most beloved of which remains A Christmas Carol, helped to change the celebration of Christmas, it was not the author’s original intent. Charles Dickens was first and foremost a political writer and a reformer. The experiences of his own life led him to recognize the serious need for reforms that would provide more comprehensive care for the poor and particularly the children of poverty.

As a child, Dickens had experienced reflect that memory, whether kind. Of those who did receive the fear and uncertainty of his through the hard road of Oliver education, some attended schools family’s diminishing resources. Twist or the autobiographical run by private owners for the When his father was sent to the . By the year of purpose of making a profit; these workhouse for not being able to the writing of Carol, 1843, child were called “ragged” schools. meet his debts, the rest of the labor in Great Britain had reached Ragged schools were “charity” family joined him there, with the a critical point. Children who institutions created to provide exception of 12-year-old Charles, did not attend school worked. a rudimentary education for who was left on his own to make They worked in factories, mines, destitute children. his keep in a blacking factory. It shipyards, construction or any was grueling work and his losses number of menial jobs. Many Leading up to the writing of were great. To Dickens, the most children worked from the age of A Christmas Carol, Dickens was severe loss was his inability to 3 years and in some of the most particularly struck by two factors continue serious education. dangerous places. Life expectancy directly related to the treatment for these young laborers was no of poor children. Earlier in 1843, he As an adult, having pulled himself older than mid-20s. had read a government report on out of the mire of poverty, he child labor whose statistics were never forgot the experience and In the mid-19th century, well over supported by interviews with child in many ways continued to be 100,000 children in London had workers themselves. The report damaged by it. His writing would never attended a school of any revealed that girls were sewing

6 \ GUTHRIE THEATER DICKENS’ DREAM, ROBERT WILLIAM BUSS, 1875 for a new market of the middle made the visit on behalf of class, working on average 16 a potential donor and was SCROOGE hours a day and, like the character sickened by what he called the Spirit, is there a particular flavor you sprinkle upon them? Martha Cratchit, they were housed “atmosphere of taint and dirt above the factory floor. There and pestilence.” At this point, CHRISTMAS PRESENT was news of 8-year-old children Dickens decided to turn his There is. who dragged coal carts through political pamphlet into a story. underground tunnels for 11 hours In October 1843, he began SCROOGE Would it apply to any kind of dinner a day. These stories represented a work on A Christmas Carol on this day? norm, not an exception. and finished it in six weeks. He wrote about the living and CHRISTMAS PRESENT In the spring of 1843, in response, educational situations of poor To any kindly given. But to a poor Dickens began work on a pamphlet children as well as the general one most. called “An Appeal to the People conditions of the destitute, SCROOGE of England on behalf of the Poor all of which he contrasted Why to a poor one most? Man’s Child.” with the grasping Scrooge and the need not only for CHRISTMAS PRESENT A visit to the Field Lane ragged Scrooge’s reclamation, but also Because it needs it most. school further incited Dickens for a change of heart for the Crispin Whittell, A Christmas Carol to take action with his pen. He whole population.

GUTHRIE THEATER \ 7 THE PLAYWRIGHT

Dickens and the Christmas Tradition

Dickens’ Christmas Carol has become such an essential part of Christmas that we can hardly imagine the holiday season without it.

Theodore and Caroline Hewitson, A Chronicle of Dickens’ Christmas Carol, 1951

Theater, like the Holiday season, This section is designed to explore mixture of North American is laden with traditions. Everyone Holiday traditions and invite you to commercialism. But it was not knows never to utter the word come and take part, once again, in always this way, and Dickens is “Macbeth” in a theater; never to the living tradition of the Guthrie’s largely responsible for the festive, wish an actor “good luck” but presentation of A Christmas Carol. family oriented celebration we rather to “break a leg;” and to … know today. always keep the ghost light on. Similarly, the Holiday season brings It is often said that Dickens There is no date given in the with it many well-established “invented” modern Christmas. Christian Bible for the birth of traditions: trips to visit Santa at While this may be a slight , but beginning in late an insanely crowded mall; the exaggeration, it is no exaggeration antiquity and continuing through decoration of Christmas trees and to suggest that he radically shaped the Middle Ages, the Feast of the the hanging of ; huge – and continues to shape – the way Nativity was usually celebrated on dinners of turkey or ham; Midnight we celebrate Christmas today. December 25. In the early Middle Mass; or Chinese dinner and a Ages was a time of general movie. Our historical Christmas origin merriment: harvest festivals, tale is generally well-known: feasting and revelry began on the Since 1975, the Guthrie’s annual Christian belief mixed in with the Feast of St. Martin de Tours on production of A Christmas Carol Roman traditions of Saturnalia, November 11 and lasted for forty has been a Minnesota tradition the Scandinavian traditions days. When Charlemagne was both for audiences and artists alike. of feasting and merriment and crowned Holy Roman Emperor on This tradition, like the theater itself, a mixture of northern European Christmas Day 800 A.D., the actual is living and organic. cuisines – combined with a heady celebration on December 25 gained

8 \ GUTHRIE THEATER THE PLAYWRIGHT

greater prominence so that by the later Middle Ages, Christmas was the dominant feast of winter.

Christmas in the Middle Ages was a very public affair: communities celebrated together and it was a time to solidify relationships through gift-giving. Employers and servants would exchange small gifts, as would landlords and tenants. On occasion, a manorial lord might give his manor the gift of a feast or some ale. All people of means would give alms to AROUND THE WORLD the poor. In England, where A Christmas Carol takes place, Christmas became a widely celebrated party with lots of food, Did you know that… wine, dancing, and card-playing. • in Sweden, is often called Following the Protestant Reformation, the Puritans in England “Dipping Day” from a tradition in which sought to eliminate the celebration of Christmas; since it had families gather in the kitchen to soak the no Biblical basis they viewed it as a Catholic invention and juices of their Christmas meat with rye decried the lax morality of drinking and dancing to celebrate bread? the Nativity. Following the English Civil War (1642–1651) the Puritans effectively banned Christmas in 1647; the ban • in Iran, Christians call Christmas the “Little remained in effect throughout the Commonwealth and Feast” and celebrate Easter as the largest Protectorate of Oliver Cromwell. Christmas became legal again religious celebration of the year? with the restoration of the monarchy in 1660, but celebration remained sparse, and even church services for Christmas were • the ceremonial main course of a relatively poorly attended until the early nineteenth century. medieval Christmas feast was a boar’s head, and that this tradition persists Thus by the time Dickens wrote A Christmas Carol, Christmas today at Queen’s College, Oxford? was a fairly subdued affair. It was neither the community festival of the Middle Ages nor the important religious • in Oaxaca, Mexico, December 23 is celebration of late antiquity nor the ribald celebration of the celebrated as the “Night of the Radishes,” seventeenth century. But the tide was turning. The Royal Family and that as part of the festivities, large began decorating and displaying Christmas trees – borrowed radishes are carved into the characters of from their German heritage – and Christmas dinners became the Nativity story? more elaborate, and common. So when Dickens proclaims that Christmas is a “good time: a kind, forgiving, charitable, • on Christmas Eve, the President of Estonia pleasant time,” he is hearkening back to a well-established declares an annual Christmas Peace? tradition of merriment, charity and reverence, combining aspects of past. Dickens focuses his holiday • in Finland, Children receive gifts from not in the commons but at the family hearth – it becomes , the Christmas goat? a personal celebration and a time for reflection as well as celebration. Dickens both reflects his society’s views about • in the Netherlands, Belgium, Germany, the importance of hearth and home as well as projects his and others, visits good own social conscience into Christmas. Dickens’ Christmas is little children on December 6 each year to not solely inward looking, portraying an idealized scene of leave goodies in their shoes? Victorian domesticity; it also requires that each person admit that Mankind is his business – it is an opportunity to make • in China, Christians celebrate Christmas the world a better place. For Scrooge, perhaps Dickens’ most by decorating trees and having a large famous invention, Christmas is an opportunity for rebirth. No family meal, but gifts are exchanged doubt Dickens hoped Scrooge would be an example to all: to at the Chinese New Year celebration in keep Christmas in one’s heart, always, and not to shut out the January or February, accompanied by wisdom the season offers us. massive displays of fireworks?

Matt McGeachy This piece was adapted from the 2006 program for A written for the 2010 play guide for A Christmas Carol. Christmas Carol at the Guthrie.

GUTHRIE THEATER \ 9 BUILDING THE PRODUCTION PHOTO: DAN NORMAN DAN PHOTO:

10 \ GUTHRIE THEATER FROM THE DIRECTOR: Lauren Keating

I truly can’t think of a better way to have spent the past month than in the world and spirit of A Christmas Carol. It’s an honor to helm this production, to be trusted with this tradition, and to work with the all-star Guthrie team and this all-Twin Cities acting company.

I’m a self-confessed A Christmas The magic of Carol is something I’ve Carol nerd, and I grew up with a lot of always appreciated. I feel like it bonds Christmas traditions. My family would families, creates memories and makes go to Carol every year at the McCarter community. We as theater makers have Theatre in New Jersey. And that would the power to create this safe space, always be around the same time we to hold this space in the middle where would go cut down our Christmas you can bring your family – any of your tree. I grew up in a very rural part of family members no matter their points New Jersey, and we would get our of view – and you can have this shared saw, we would get our sled, and we experience. That is truly the most would trudge down the hill to this tree powerful and meaningful work that farm every year. The man who owned we do. the farm was always very jolly and very welcoming, and my dad referred So when Joe Haj asked me if I’d be to him as Mr. Fezziwig. I thought it interested in directing A Christmas was so cool that Mr. Fezziwig from A Carol, I was deeply honored and Christmas Carol was selling us a tree. jumped at the opportunity. And then, It was maybe around age 12 when like with anything I direct, I started I was extremely disappointed and thinking, “Why now? What is the devastated to learn that this was not in artistic imperative with this show?” fact the Mr. Fezziwig. I was talking to And it didn’t take long for me to my mom about it recently, reminiscing, answer those questions. If you listen to and I asked her what our “Mr. Fezziwig the news or scroll through Facebook, of the Tree Farm’s” real name was. you can plainly see the reason. Our Nobody knows! community and our world need this story. It’s the story of healing, of I share all that to say: There literally redemption, of transformation. We isn’t a single production that I could need it more than ever. We need to direct for which my family would be remember our common humanity and more proud or excited than this one. celebrate it. PHOTO: DAN NORMAN DAN PHOTO:

GUTHRIE THEATER \ 11 BUILDING THE PRODUCTION

original music for a production, Q: What made you want to a director gets to work with that become a composer and, for composer to specifically enhance students interested in the arts, what’s going on in the play, instead what advice do you have on of having to finding pre-existing getting started? songs to meet the same end. KT: I started out as an actor. I went to school for acting, and I Q: What was your artistic process acted professionally for 10 years. in terms of composing the music During that time, I would compose for Carol? music on the side, and eventually I KT: Everything comes from the decided to do music full-time. Since script. I’ll read through the new I knew the people in the theatre adaption of the script and mark community, I began composing Keith places where I think there could music for plays. It took some be some music, and I also mark time for my colleagues to wrap Thomas where the mood or tone changes, their brains around me being a places where I think I could support composer instead of an actor, but Composer for a moment with some music. I go eventually, I stopped acting entirely A Christmas Carol through the entire script making and said, “No, I don’t act anymore. all my notes, and then I meet with I’m a composer. Take me seriously the director, Joe Chvala. At this as a composer.” Eventually people Q: Not every production has meeting we compare our notes, did. If you love creating music, just music or a composer. How do you and hopefully we agree on where keep making it. By following my feel the music and the choice to there is music and how that music passion, I totally changed careers include a composer in the artistic should sound and feel. I always try at 40 years old. process adds to A Christmas Carol? to get myself into the mindset of Keith Thomas: Well, when you the director in order to support his have artists dedicated to creating or her vision.

Q: What artistic choices did you Representing this distinction of make to support the concept of A class is a big theme in many of Christmas Carol? Dickens’ stories and novels, and is Mathew J. LeFebvre: When first really apparent in the costuming approaching the design, the of the Cratchit family, who are director and I were really looking at barely making ends meet. It is a number of different worlds. There really important to the telling of is the London of present Scrooge, the story to show their poverty in the world of his past memories their clothes, so every article of and finally there’s the world of clothing they wear is really worn his future. With the costumes and has been mended over and Matthew J. we also wanted to represent the over and over again. I hope the different class and economic audience empathizes with them, structures within the London of and the clothing helps us to do that LeFebvre Scrooge, especially the difference because it feels a little bit more Costume Designer between the upper class and those concrete and real, not cartoony. individuals who are poor and for A Christmas Carol destitute. In contrast, the first big scene taking place in Scooge’s past is

12 \ GUTHRIE THEATER BUILDING THE PRODUCTION

the Fezziwig party where we see Each one presents a different design specifically? Scrooge as a young man, before challenge. For example, the main ML: I took a roundabout path to he changes into his present miserly Ebenezer Scrooge (or present designing costumes. Like many self. We see him fall in love, but we Scrooge) costume needed to be others, I started out in theater also see him begin to change and texturally rich. To achieve that, training to be an actor. While become more and more concerned we carefully selected fabrics that pursuing my theater degree in with money. Since the scene spans have amazing texture and then college, I was required to take a several decades of Scrooge’s life, concentrated on making those number of design courses. I’ve we hoped to show the progression into a extremely well-tailored suit. always liked to draw, so when I took of, not only time, but also of Another example is Mrs. Cratchit’s a costume design class, it really Scrooge’s character. Practically costume, which is fairly simple clicked that I should transition speaking, each of Fezziwig’s parties and pragmatic. However, there is from being on stage to behind involves a lot of dancing, and the such a sense of wear, as well as a the scenes. And I believe my actor costumes are very colorful and functional quality about it. Even training makes me a stronger bright to reflect the festive mood. though her costuming reflects costume designer because I do It really is a stark contrast to the her impoverished circumstances, think about the costumes as being London of the older Scrooge we there’s something really beautiful in an extension of the character. I see later in the play, with his dark its spare simplicity. recommend that anybody who is and muted colors. interested, specifically in theatrical Q: What excited you most about costume design, should take some In each of these time periods, the designing process and this acting classes. I think it’s important texture plays a big role in my production in general? that a designer understands designs, such as the ragged ML: Well, it’s such an amazing what it’s like to wear a costume clothing of the poor Londoners story. There’s a reason why so on stage and how that costume or the richer fabrics of the upper many theater companies produce supports the work that the actor class characters. Texture helps the this story every year. It’s really does. It’s also important to see audience feel and understand the an uplifting story, and it renews a lot of theater. Seek out a wide lives of these characters without our faith in humanity. It’s also a range of performance aesthetics. having to know their full history. really great challenge, for no other It’s sometimes a difficult career reason than the sheer number of to make a living in, but being able Q Is there a character you had the costumes and the several decades to design for a wide variety of most fun designing? represented in the play. The play theater and performance styles ML: This show in particular has has costumes that are very stark helps with that. I learned probably many characters, and is very and spare, and also has costumes as much, if not more, about design demanding in terms of the that are lush and vibrant. To be able by watching other productions and number of costumes needed. With to do all of those in one production seeing how other designers solve this particular production and is great. challenges than I did from sitting in adaptation, we started a number The Guthrie is one of my favorite a classroom. of years ago with the intent of theaters to work with because the creating the costume designs in costume technicians – who are phases, focusing on different parts called drapers and tailors – and the of the play, one at a time, and then crafts people, and the wig people over the next several years adding are of some of the best in the field. new costumes in phases. As you They’re some of the most skilled may have guessed, that is a much that I’ve ever worked with, and I different process than designing am always excited about how my costumes for a show that is only designs will look in their capable produced once and then goes hands. away. Q: What led you to becoming The costumes are really like a costume designer, and what my children, so I hesitate to advice do you have for students say which one is my favorite. interested in the arts and costume

GUTHRIE THEATER \ 13 Crispin Whittell Playwright/Adaptor of A Christmas Carol

Q: How do you feel the message It needs to change, if possible, each play when I was about 11 or 12 years gained from A Christmas Carol is year just because it’s a strange old, in school. After being an actor still relevant today? show to try and keep fresh. Really, I starting directing, but I continued Crispin Whittell: Oh my goodness! the start of this adaptation came to write. So when I started It’s one of the great, great, great, when former Guthrie Artistic directing, I thought, “Why would I stories. It’s so completely relevant Director Joe Dowling asked me if I direct plays that people have done that it’s kind of hard to know where would you write a new A Christmas before? I may as well write them to begin. It’s relevant because Carol. from scratch.” Writing words that there are still people who think The previous version used by come out of other people’s mouths that money is the most important the Guthrie has a narrator, and I is not something that I learned; it’s thing in life. Recently moving back thought that I didn’t want to have a just something I could always do. to England got me to think about narrator. I wanted the piece to feel what A Christmas Carol would look like a play instead of a story being Q: How would you encourage like in London in 2016. Witnessing told to the audience. To begin the students to get started in the way Britain and America right play, I thought of Tiny Tim, or a tiny playwriting? now are reacting to who Dickens’ voice in the middle of an enormous CW: Just do it. There’s a fantastic called the “other.” As long as there stage. Then I just kept going from Fringe Festival in Minneapolis! If I are people who are less fortunate there. Each year, I think the play were in Minneapolis and I were 18, than the Scrooges of this world, becomes closer to Dickens’ original that’s what I would be doing. I’d and as long as people chase after novella. And something you might write and I’d direct a Fringe show money believing it to be the be all not know unless you are English every year, and I’d make it as good and the end all, these issues will is that we aren’t afraid to mess as it could possibly be…also, I’d try be staring us in the face. So, yes, I about with Shakespeare and even to make it funny, not too long, and was thinking, “How would one do Dickens. In my opinion, the British not boring. That’s what I’d do. Just a modern version of Carol?” Well, feel that Dickens’ reputation is do it. Tiny Tim would be Syrian or Iraqi solid, so we don’t feel squeamish and Scrooge wouldn’t be the old about messing with his stories. man with a bent back and a candle. Dickens is one of the greatest He’d be working on Wall Street or people in history, but I didn’t go in the city. into adapting his story thinking that I have to show reverence to him. Q: What inspired you to create this I wanted it to be un-boring, alive, specific adaptation? funny and be modern in feel. It’s an CW: Well, this adaptation has now important show for the Guthrie to gone on quite a journey. This is the try and get as right as possible for sixth year of this adaptation being the families who come and see it. produced at the Guthrie, and I’ve written sort of a new version each Q: What made you become a time. I think it’s great that that playwright? happens and it’s essential for a CW: I think I was always going to story and production like this one. be a playwright. I wrote my first

14 \ GUTHRIE THEATER Patricia Olive Props Master for A Christmas Carol

Q: What was your favorite prop We also hold to something called the other, and it can take an hour to create for this production and the “10-Foot and Squint Rule.” This or many days to prepare a prop for why? rule helps us to better understand the stage; it just depends. Patricia Olive: Sometimes it’s just what the audience will see, since the little things. The kids have coins most of the time we build the Q: Does this show have any “magic in a tin cup. Well, the coins are props so close to our faces that moments,” and how do they work? naturally going to fall out, they’re we see every minute detail in that PO: We do have one. It’s one that going to get lost, and it’s going prop. To see what the audience will our actor playing Scrooge, JC to be a problem. So, what can we experience, we set the prop down, Cutler, happens to really like. It’s do to avoid that? So it could be a take a few steps back (usually actually a simple thing: a puff of prop challenge that small. A lot of about 10 feet) and squint our eyes air is pushed through a hole in what I love is the set decorating just slightly to see what it looks like. Scrooge’s counting table, which for Scrooge’s house and all of the This prevents us from obsessing “magically” blows some papers up shops. If people ever have a chance over any one prop. into the air. This trick is all about to really look into the shops they making sure that the air gets to will see how much detail there Q: On average, how long does it where it needs to go and also really is, like all of the baked goods take to make a prop? making sure that the papers are in the bakery shop. The pawn shop PO: It varies. It could take an hour in the right spot on the table. This was fun, too. Creating that level of to come up with a prop made with effect helps portray a moment detail is actually my favorite part. paper and a pen. Or, it could take when Scrooge senses his former multiple hours to quilt a comforter. partner Marley’s ghostly presence. In A Christmas Carol, Scrooge’s It’s just something super simple, Q: How do you decide how much quilt on his bed was handmade just a poof of air, but we have to detail is relevant for such a large from different pieces of fabric, make sure that it’s the right amount stage? which was all done in our prop of pressure to set the right tone. PO: That is a topic we spend a lot shop. We also make a lot of our We don’t want it to be a comical of time talking about in preparation own furniture, a task that typically moment. It’s a mystery moment, for A Christmas Carol. Not only do takes multiple people. For example, and probably my favorite one in the we have to come up with a way one person will build the furniture’s show. to tell the audience what needs to framework while somebody else be told, but we also need to listen upholsters the piece. Props like Q: How did you get into props and, very carefully to what the director Scrooge’s bed were made from for students interested in pursuing and the designers want. We then scratch, and then we have people the arts, specifically props, what is pull all those things together. And who purchase other pieces of your advice for getting started? sometimes, just for extra measure, furniture, either at yard sales or PO: I did high school theater, we sneak things into the set that at antique shops. For a different where I thought I wanted to be we like, too. We strive to be as production, we made a full size onstage. Then I was talked into realistic as possible so that we Rolls Royce in our shop, which took doing props for a couple of shows, don’t distract the audience. We 12 people and a lot more time then which I really enjoyed. Since I want to make sure that the props it took to complete Scrooge’s bed. was mostly interested in auto actually help tell the story. We tend to go from one extreme to mechanics and woodworking in

GUTHRIE THEATER \ 15 college, I was studying to be a can use a hammer, but if you can shop teacher. After school, I taught weld, that will put you at the top industrial education, or shop class, of everybody’s hiring list. Also, find for nine years. On top of being somebody to be your mentor, even a school teacher, I was required as early as high school. Your high to participate in an outside school drama teacher probably extracurricular activity. I was knows people in your local theater assigned to build the scenery for a community. Finally, any time that school play. From there I just stuck you can get into a theater and do with theater, working summer stock whatever you can to learn about because I had the summers off. the process, you put yourself a Then a mentor of mine convinced step-and-a-half ahead of others me to do something I didn’t even even before you get to college. know was possible, which was quit teaching and pursue a career in prop making full time. And that’s been my career for the past 35 years.

If you like to do crafty things, or if you like to go to yard sales and thrift stores, or if you love making things into other things, then you have the basic skills for props making. At the Guthrie, our props people can do fine wood and metalworking. They also weld, sew and upholster. If students are interested in technical theater, my advice to them is: it’s great that you

Props from A Christmas Carol

16 \ GUTHRIE THEATER ADDITIONAL INFORMATION Discussion Questions and Classroom Activities

THE ROLE OF THE NARRATOR SOCIAL STUDIES / HISTORY MARLEY’S CURSE Discussion Questions: The role Classroom Activity: Much of According to the story, Marley is of the narrator is important to Charles Dickens’ work is focused condemned to “walk the earth.” this adaptation of A Christmas on 19th century England and Why do you think this is his Carol. Which characters serve as disparities between the classes. punishment? For what deeds or narrators in this production? How Select a topic from below and omissions is he being punished? do the narrators propel the action research it through the lens of 19th Do you believe the chains that of the play? Do you feel like the century England and how the topic he wears are a metaphor? If so, narrator is talking directly to you relates to A Christmas Carol. Then what do they represent, and how when speaking? How does this report back to the class to paint is this metaphor central to the differ from how characters usually a more complete picture of the story’s plot? What do you believe is interact on stage? setting for the play. implied by the multitude of fettered spirits that accompany Marley’s Classroom Activity: Select a book • Labor laws ghost? or story that you know well. If you (especially child labor laws) were retelling this story in the • and ghost stories SCROOGE AND CRATCHIT role of narrator, what would you • English royalty How would you describe the include? What would you leave • Homelessness relationship between Scrooge and out? Create the role of narrator for • Clothing Bob Cratchit at the beginning of this story and, using a selection • Crime the story? Do you think that their of the book or story you chose, • Religion employer/employee relationship is narrate that section for your peers. • Music and Songs representative of 19th century labor • Women in Society laws and customs? Why or why THEMES AND IDEAS • not? Do you think their relationship Discussion Questions: What do • Slavery would be typical today? What has you believe is the central theme, or • Printing / Publication changed, if anything, between main idea, of A Christmas Carol? • Satire employers and employees as well Where in the play is the theme • Science / Evolution as with labor laws? most obvious? Which characters • Colonialism help to express the theme of the •Other Writers of the Era (Bronte, HUMBUG! play? Do you believe this play has Carroll, Conrad, Kipling, Thackeray, What does the word “humbug” a moral? If so, what do you believe etc.) mean? What words are the modern it is? Can you think of examples of day equivalent of “humbug”? other books, movies, stories, songs Thinking back on the play, or other works of art that have a GENERAL TOPICS what aspects of the Christmas similar theme? celebrations does Scrooge call COMEDY VS. TRAGEDY “humbug”? When is the first time If you are familiar with other Do you believe that A Christmas in his life that Scrooge uses the works by Charles Dickens, can you Carol is a comedy or a tragedy? term? Why do you think Scrooge find similar themes in his other What do each of these has such a dour outlook on these works? How does Dickens utilize classifications mean to you? What celebrations? What events led to character, plot, subject matter, and aspects of the story are comic? his feelings about Christmas? Are narrative style to express these Which are tragic? Which do you there any aspects of the holiday ideas and themes? Are there other feel is most effective in A Christmas season that you believe are artists who come to mind that are Carol? How does one support the “humbug”? Explain. concerned with the same themes other in the telling of the story? as Charles Dickens? ADDITIONAL INFORMATION

NATURE VS. NURTURE Can you think of an example of through theatrical means — either For centuries, philosophers and art you have experienced that has as additional dialogue, lighting or scientists have tackled the question made you think or feel differently setting instructions, movement, of whether humans are born with about yourself or some aspect of music or any other element they instincts that define their conduct the world? choose. Finally, have students read throughout life, or whether their their scenes aloud for one another behavior is the result of education, WHAT MAKES A CLASSIC? and discuss the challenges and the influence of family, etc. How Every year, productions of A choices they made on behalf of do you think this story of Scrooge Christmas Carol are staged in their own adaptation. supports one theory vs. the other? theaters around the world. Why do Do you think Scrooge is the you think this story has remained Classroom Activity: Read a passage product of his environment, or was so popular for so many years? from the book A Christmas Carol he born that way? How do you Some scholars believe that a classic aloud. What aspects of the text explain his transformation based on is a story that both defines its own are effective as spoken language? your assessment? era and transcends its time. Do you What aspects of the text seem believe A Christmas Carol qualifies most appropriate for theatrical THE LESSONS OF THE GHOSTS by this definition? Do you think this staging? How does the written text Each of the ghosts that visit makes it a classic? What qualities differ from that scene as it was Scrooge is meant to teach him do you think a book has to have staged in the production? a lesson. What do you believe to be a classic? What other books Scrooge learns from the Ghost have you read that you believe are Classroom Activity: Many TV and of Christmas Past? The Ghost of classics? Why should those books film adaptations have been made Christmas Present? The Ghost of be considered? of A Christmas Carol, including “A Christmas Future? Each Ghost in Diva’s Christmas Carol” starring this Guthrie production is very ADAPTATION Vanessa Williams for VH1, “Mickey’s different from the other — in Adapting a novel for the stage Christmas Carol” by Disney and terms of appearance, costuming, poses many challenges. After starring Bill Murray. If demeanor, gender, voice and seeing A Christmas Carol at the you were going to write a modern movement. Why do you think each Guthrie and reading the book, find day version of A Christmas Carol, Ghost has been created to appear examples of moments from the where would you set the story? the way they do? How does the play that were adapted from prose Who would be your Scrooge? In appearance complement the lesson — not dialogue. How did the play what industry would they work? to be learned from that particular use theatrical elements — lighting, Individuals or small teams should Ghost? symbolism, music, setting - to work to develop scenes from their capture Dickens’ novel? When do modern day versions of the story to If you were the central character you think this was most successful? present for one another. of A Christmas Carol, what would Were there elements of the book the Ghosts have revealed to you? that were “lost” in the production? THEATRICAL STAGING What lessons do you think they Were there moments in the Often, the most theatrical moments would have wanted you to learn? production that are not found in in a production highlight or point to How would the Ghosts in your story the book? the play’s most significant themes. appear? In this production, what do you Classroom Activity: Ask students believe are the most theatrical Do you believe the lessons from to select a novel (other than A moments? Do you believe these the Ghosts have any meaning in Christmas Carol) of their choice moments indicate the play’s central your own life? Did you learn or — preferably a favorite book they themes? discover anything from the play have read and know well. Ask that might change your behavior students to select one section of How does the Guthrie production or attitudes? If so, what? Do you text from their book that includes create the atmosphere of Dickens’ believe it is possible to enrich both dialogue and descriptive 19th century London? What do or understand your own life in a prose. Then, have them translate we learn about Scrooge and his deeper way through seeing plays, that section into a theatrical script world through the set, costumes, listening to music, reading books and encourage them to capture as props, lights and sound? How or experiencing other types of art? much of the prose as they are able do costumes help us understand

18 \ GUTHRIE THEATER ADDITIONAL INFORMATION characters’ social or economic from the play or from the Victorian to research specific Christmas class? What changes in fashion era. Meet and mingle in character traditions or b) select a holiday are apparent in the costumes as you enjoy the festivities. other than Christmas to explore in for the scenes from Scrooge’s detail. Ask each student to prepare childhood (set around 1790), to the HOLIDAY TRADITIONS a report or create a poster board Fezziwig party (set around 1800), AROUND THE WORLD that features pictures, images or to the party at Fred’s (set around Classroom Activity: Christmas is samples of holiday fare. 1840)? Select a scene or image celebrated differently throughout you remember from the play and the world. In certain cultures, describe each of the elements that Christmas is not a holiday but other you can recall and how it supports wonderful celebrations take place the scene. and are honored. Ask each student to either a) select a country MUSIC Christmas carols and songs are incorporated throughout this production. Describe the different ways music is used throughout the play. How does the live music set a tone for a scene, advance the action of the story, define characters and contribute to the overall production?

HOLIDAYS PAST, PRESENT AND FUTURE Classroom Activity: Interview a parent, grandparent or older relative about their favorite memories of a past Christmas or holiday tradition of their own culture. What foods, smells, sounds, images and people do they recall from that holiday? Write a description of these memories that captures as many details as possible. Think about your own favorite holiday memory and do the same. Try to capture as many sensory details as possible. Imagine a future holiday when you are an older adult, and again write a detailed description of what you imagine your perfect holiday will be.

THROW A VICTORIAN HOLIDAY PARTY Classroom Activity: As a class, plan a Victorian holiday party complete with food, games, songs, dances and costumes of the era. Be as authentic as you can! Ask each PHOTO: DAN NORMAN student to come as a character The cast of A Christmas Carol

GUTHRIE THEATER \ 19 ADDITIONAL INFORMATION

For Further Information

BOOKS Interactive BBC site about children in Victorian Dickens, Charles. Christmas Books. London: Oxford England, designed for children from 9-11 University Press, 1954. http://www.wwnorton.com/nael/victorian/welcome. Dickens, Charles. Christmas Stories. London: Oxford htm University Press, 1956. Norton Topics Online site provides illuminating primary documents relating to British society in the Victorian Davis, Paul. The Lives and Times of Ebenezer Scrooge, Era New Haven: Yale University Press, 1990. http://www.ph.ucla.edu/epi/snow/1859map/ Davis, Paul. Penguin Dickens Companion. New York: Searchable map of London in 1859, from the UCLA Penguin Books, 1999. Department of Epidemiology

Hearn, Michael Patrick. The Annotated Christmas Carol. http://www.victorianweb.org New York: Clarkson N. Potter, Inc., 1976. Site designed and edited by Professor George P. Landrow for Brown Univeristy as a resource for Brown Miall, Antony and Peter. The Victorian Christmas Book. students studying New York: Pantheon Books, 1978.

Schlicke, Paul. Oxford Readers’ Companion to Dickens. A SELECTION OF CHRISTMAS LITERATURE New York: Oxford University Press, 1999. Editor’s Note. Charles Dickens’ A Christmas Carol is one among many stories arising out of the Christmas Smiley, Jane. Charles Dickens. The Penguin Lives holiday. What follows is a selected list which may Series. New York: Penguin Putnam, Inc., 2002. include many of your own favorites.

Novels, Short Stories and Poems: FILMS AND VIDEOS The First Christmas, Luke, chapter 2 http://us.imdb.com/M/person The Legend of Bafana, traditional European story exact?Dickens%2C+Charles Baba Yaga, folktale, probably Russian in origin (19th A list of films adapted from Dickens novels and short century) stories The , E.T.A Hoffman (1816) The Sketch Book, (1819-20) The Night Before Christmas (A Visit from St. Nicholas) , WEBSITES Clement C. Moore (1822) http://www.stormfax.com/1dickens.htm The Fir Tree, Hans Christian Anderson (1845) The text of Charles Dickens’ A Christmas Carol The Snow Queen, Hans Christian Anderson (1845) The Little Match-Seller, Hans Christian Anderson (1846) http://www.charlesdickenspage.com Little Women, , chapters 1-3 (1869) David Purdue’s Charles Dickens Page includes “How Santa Came to Simpson’s Bar,” Bret Harte (1870) information on Dickens — on page, onstage and in life Christmas Every Day and Other Stories Told for Children, (1892) http://www.lang.nagoya-u.ac.jp/~matsuoka/CD- “The Burglar’s Christmas,” Willa Cather (1896) Chesterton-CD.html “Yes, Virigina, There is a ,” Francis P. G.K. Chesterton’s biography, Charles Dickens, 1906 Church, The New York Sun (1897) The Life and Adventures of Santa Claus, L Frank Baum http://lang.nagoya-u.ac.jp/~matsuoka/CD-Forster.html (1902) Entire text of John Forster’s biography, The Life of “The Tailor of Gloucester,” Beatrix Potter (c. 1902) Charles Dickens, 1872-74 “The Gift of the Magi,” O. Henry (1906) The Lion, the Witch and the Wardrobe, C.S. Lewis http://www.bbc.co.uk/schools/victorians/index.shtml (1950)

20 \ GUTHRIE THEATER ADDITIONAL INFORMATION

A Child’s Christmas in Wales, Dylan Black Nativity, Langston Hughes Thomas (1954) (1961) A Christmas Memory, Truman The Best Christmas Pageant Ever, Capote (1956) Barbara Robinson (1972) How the Stole Christmas, Dr. Christmas on Mars, Harry Seuss (1957) Kondoleon (1983) The Polar Express, Chris Van Reckless, Craig Lucas (1989) Allsburg (1985) The Eight Reindeer Monologues, The Santaland Diaries, Holidays on Eric Goode (1994) Ice, David Sedaris (1992) They Sing Christmas Up in Harlem: Santa’s Twin, Dean Koontz (1996) A Lenox Avenue Christmas Carol, Eric LeRoy Wilson (2000) Plays: Mrs. Bob Cratchit’s Wild Christmas Babes in Toyland, Glen Binge, Christopher Durang (2005) MacDonough and Victor Herbert (1903) The Man Who Came to Dinner, George S. Kaufman and Moss Hart (1939)

The cast of A Christmas Carol PHOTO: DAN NORMAN

GUTHRIE THEATER \ 21