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A CHRISTMAS CAROL By Charles Dickens Adaptation and Original Lyrics by Rick Lombardo Original Music by Anna Lackaff and Rick Lombardo Music Arrangements by Anna Lackaff` PORTLAND PLAYHOUSE PRESENTS PRESENTING SEASON SPONSORS A CHRISTMAS CAROL Harold Goldstein & By Charles Dickens Carol Streeter Adaptation and Original Lyrics by Rick Lombardo Ronni Lacroute Original Music by Anna Lackaff and Rick Lombardo Music Arrangements by Anna Lackaff OUR WORK IS MADE POSSIBLE BY Mary & Don Blair NOVEMBER 30 – DECEMBER 30 Ellyn Bye CAST The Collins Foundation Kinsman Foundation Jennifer Rowe Ebenezer Scrooge Meyer Memorial Trust Eric Little Topper, Molly, Dick James F. and Quinlan Fitzgerald Christmas Past, Belle, Elizabeth, Mrs. Cratchit Marion L. Miller Foundation Joshua T. Weinstein* Fred, Young Scrooge, Old Joe Raymond Family Foundation Todd Van Voris* Marley, Mr. Fezziwig, Undertaker’s Man Judy Shih & Joel Axelrod Robert Durante Ship’s Pilot, Ensemble State of Oregon Phillip Terranova Charles Grant Collecting Man, Mrs. Fezziwig, Christmas Present Steve & Elsie Weaver Lauren Gruenberg Mrs. Dilber, Ensemble Friends of Sandra Zickefoose McKinley Hughes Martha, Hermione, Ensemble SPECIAL THANKS Rachel Lewis Bob Cratchit, Fan, Miner Tonea Lolin Edna, Ship’s Watch, Ensemble Lagunitas Brewing Company Tamera Lynn Ensemble Reverend Nat’s Hard Cider Sellah Eberly Alice, Ensemble Missionary Chocolates Maeve O’Connor Belinda, Ensemble Stumptown Coffee Roasters Atticus Salmon Boy Scrooge, Willie, Ensemble Nossa Familia Coffee Serelle Strickland Tiny Tim, Ensemble CREATIVE TEAM The photographic, video and/or audio recording of this performance by any Brian Weaver Director means whatsoever is prohibited. Cristi Miles Director *Appears Courtesy Actors’ Equity As- Eric Little Music Director sociation. Actors equity association, founded in 1913, represents more than David Levine Stage Manager 49,000 actors and stage managers in the U.S. Equity Jennifer McIntyre Asst. Stage Manager negotiates wages and working conditions, provid- ing a wide range of benefits, including health and Owen Walz Scenic Designer pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. Solomon Weisbard Lighting Designer www.actorsequity.org Ashton Hull Costume Designer Portland Playhouse receives support from the Rachel Schmerge Properties Designer Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endow- Mary Devlin Choreographer ment for the Arts. Tamera Lynn Asst. Director RUN TIME: 85 MINUTES SETTING: 19TH CENTURY LONDON “THE RUG IS BEING COMPLETELY PULLED FROM UNDER ME…” PORTLAND PLAYHOUSE RECENTLY about me reading for that. But I’ve watched here, this particular A Christmas Carol. Scrooge be played for three years now by The second thing is because of the style CONDUCTED A Q&A WITH JEN someone I adore, respect and love (Drew of the show—everyone is asked to attack ROWE, WHO TAKES ON THE ROLE Harper), and as an actor, it’s hard to not multiple roles and shift in and out of each imagine different choices you would make other’s humanity. One of the things exciting OF EBENEZER SCROOGE IN THE if you were going to embody the role. I feel about this year is we’re also playing in terms THEATRE’S MAGICAL PRODUCTION ready, in a way, because I’ve been prepped of gender…I think that speaks to the exact OF CHARLES DICKENS’ CLASSIC A for three years in order to play the role. I’ve heart of what this story is about—we can watched for three years, but the rug is being all shift, and we should all shift into each CHRISTMAS CAROL. completely pulled from under me because other’s humanity as much as we possibly can PORTLAND PLAYHOUSE: This is your fourth it’s going to be approaching the show from for better understanding of how we should year involved in the production—how do the opposite perspective than I have for treat each other in this world… you keep it fresh? The third reason I love this show is because it’s only 90 minutes. I love JEN ROWE: I have to keep it fresh. spectacle in theatre, and I think the I’ve played all of the ghosts the past way this story is told in its simplic- three years, and the rest of the cast has I think that speaks to the exact ity provides for an amazing spectacle changed the past three years. Scrooge of human experience to just “pop” on and the ghosts have remained the same. heart of what this story is about— stage. That’s one of the most reverent I’ve come back every year wondering we can all shift, and we should all and spiritual experiences I get to have how I’d keep it fresh. Every year I felt as a performer—when I feel the specta- I’d be unsuccessful, felt like I’d made shift into each other’s humanity as cle is through the human on stage, and choices, already knew the show and was much as we possibly can for better that is the shared experience. like, “What was going to change a year later?” Luckily, every time I came back, understanding of how we should a lot changed within that year. I’m very treat each other in this world… PP: You’ve been in some spectacles informed by what happens in my life in here as you’re no stranger to the Play- terms of bringing it into the stage. But house… after the third year, (Playhouse artistic director) Brian (Weaver) approached JR: I’ve created some spectacles here. (laugh) me to come back. I said no because I felt the past three years. In terms of the show’s last year I’d done the thing. The only way I spirituality, you’re coming from one place. would come back to A Christmas Carol was As the protagonist, you’re coming from the PP: Is there a connection between the roles to take on a whole new challenge. Scrooge is complete opposite. you’ve assumed at the Playhouse? something that is a wild and crazy challenge. JR: There is definitely gratitude to the Play- PP: It’s a classic, of course. And it’s a huge house for keeping busy. That’s something PP: So, you’re Scrooge, huh? How did that hit here specifically. Why do you think it is I’ve been very grateful for… One of the happen? so enduring? things I love about Brian Weaver is what he sees in me… He sees interchangeability—he JR: Yep. The first year, Brian approached JR: In terms of production at the Playhouse, recognizes that I’m malleable. He presents me to read for Scrooge, but I couldn’t see there are three main reasons why this is the opportunity to challenge myself in what that idea because I can be a traditionalist. so enduring and awesome to do—one, the he sees. Often, like Scrooge, like Molly in It’s a really big choice to make right off the structure of the play, the shape, the form. I Peter and the Starcatcher, especially in Mr. bat when you’re choosing to do a traditional never thought I’d do A Christmas Carol in Burns: A Post-Electric Play, when he ap- show at a company that tends to be known my life… Why? Because we write it off be- proaches me for roles, I don’t see what he for being eclectic. But then I auditioned for cause of what it seems to have become. In my sees is going to happen. I’m not even sure the ghost, so I got to play all of these crazy mind, it’s an overt production rather than a he knows what’s going to happen, frankly. roles and develop different characters. It story, and so you associate with its pictures But I know he sees something in me that was a blast. When we met this year, he ap- rather than what Dickens was trying to say allows me to rise to whatever he demands… proached me again about playing Scrooge… simply, in terms of story. And I love that ours I quiver. I wonder if I can do this… But it’s What happened the first year was he asked is a 90-minute version that kicks out all of one of the essential qualities of a leader—one me to read for it but I never did—the actual that production, goes into a very simple of the best qualities of someone you call a director, Cristi (Miles), asked me to read form of storytelling and is concise as possi- leader—to put people in positions to thrive, for the other roles. She loved me in those ble so that thread is shining through—which to recognize things in people that are greater roles and didn’t see me as Scrooge. And is how Scrooge maintains his humanity and than them and to challenge them to meet because Brian likely sensed some resist- then rediscovers his humanity at the end those and surprise you both. ance, he probably didn’t nudge her too much of the play. So, that’s why I love this show CAST JEN ROWE (Ebenezer Scrooge) has worked as Awareness at CoHo Theater. Many thanks an actor at Portland Playhouse in Peter and to Cristi, Brian, and the entire Playhouse the Starcatcher, Mr. Burns: A Post-Electric team who make this journey happen. And Play, A Christmas Carol (this is her fourth Brandy. Always. year), After the Revolution, Bloody Bloody Andrew Jackson, and Twelfth Night. Other TODD VAN VORIS (Marley, Mr. Fezziwig, performances: Speech and Debate (Artists Undertaker’s Man) is honored to be tread- Repertory Theatre), Distracted (ART), JAW ing the Playhouse boards for the first time.

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