Through Visibility and Truth
A Blog View by Alejandra Enciso-Dardashti
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| Miles G. Jackson (left) and Marco Barricelli. Photo by Rich Soublet II. |
Charles Dickens's spirit probably shakes every December with the many productions of
A Christmas Carol nationwide and beyond.
From Mickey Mouse to Jim Carey, this novella, in its various formats, has become a true tradition for the season, almost like Mimi's All I Want for Christmas Is You.
In a smart, checkmate move, La Jolla Playhouse presents the world premiere of
Your Local Theater Presents: A Christmas Carol, by Charles Dickens, Again. Written by Anna Ouyang Moench,
'Christmas Carol is an authentic behind-the-scenes look at the theatre/entertainment industry. MOXIE Theatre produced Ouyang Moench's
Birds of North America in 2023, a nice contrast showcasing the playwright's versatility.
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| (L-R) Maria Elena Ramirez, Miles G. Jackson, and Marco Barricelli. Photo by Rich Soublet II. |
The plot starts in December of 1997 in the green room of a regional theatre where A Christmas Carol is in its run. Eddie (Miles G. Jackson) is a recent graduate from Julliard with all the attitude and disposition to thrive. He has an apartment in New York but has not gotten work there yet, and to qualify for health insurance, he is doing his first regional production in this Christmas classic in the role of Fred, Scrooge’s nephew. The company's Scrooge (Marco Barricelli) is a seasoned actor who has played the bitter mogul for years. Lucy Cratchit (Juliet Brett) is a young talent with training, experience and a theatre mom who is "encouraging" her every move. Stagehands come to the scene to reveal, creatively and practically, the years passing at the theatre, switching the callboard and table tops. From '97 to 2001, to 2010, to 2023, each year, December, on their last performance of the run, Eddie keeps returning as he is aging out and in of roles. Life as an actor is different from what he envisioned. Ouyang Moench also seasons the story with different backstage shenanigans that are not exclusive to the theatre but to the overall work environment while staying true to the craft -if that makes sense-.
Directed by Les Waters, the one-act piece moves along smoothly with actors playing actors. Miles G. Jackson shows the gradual changes in Eddie both histrionically and personally with a calming pace and smooth vibe. As the seasoned actor, Marco Barricelli is fun and has amazing deep intonations. Juliet Brett, who we saw in "Crime and Punishment" at the Old Globe, brings the laughs again with great timing and humor. San Diego actors continue to grace the Playhouse stage, and I love it! Xavier J. Bush, whose choreo is shining over at MOXIE Theatre, is part of this cast within a cast, also playing Fred in a couple of the years with spark and charm. Tony Larkin plays Bob Cratchit and, through sarcastic laughs, is the actor who aims to land Eddie on the reality and practicality of things. Maria Elena Ramirez as “Mrs. Cratchit,” brings the sass and the naughtiness to the scene as well as incarnating a stage manager and how vital their role is.
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| (L-R) Miles G. Jackson, Juliet Brett and Xavier J. Bush; photo by Rich Soublet II. |
Santiago Orjuela-Laverde, Andrew Moerdyk, and Kimie Nishikawa made the scenic design through their collective dots, and nailed the greenroom from the couch to the coffee station and the callboard, of course with a peek of a hall beginning with arrows to either the stage or the dressing rooms. Yi Zhao's lighting design fits the Greenroom scenery with a matte dim light, along with Ryan Rumery's sound design that rounds out the backstage with the minute calls in an off-voice and the effect of what is happening on stage while the actors are backstage. Both lighting and sound will later be a part of a beautiful reveal. Annie Smart's costumes follow the checkered pattern, which is iconic in Christmas Carol, parallel with the taffeta and the skirt rings. Alberto “Albee” Alvarado's hair and wig designs are fun and have a stage-like look, perfect for this story. Taylor Williams's makeup has dark contours and pink blush, rounding out these characters' looks through a realistic lens for the stage.
I moderate aftershow chat-backs for Broadway touring shows, and this play reminded me of the questions we get, from the aspiring actors to the romanticizing and overlooking of the all-around business and village it takes to produce a play. Anna Ouyang Moench's piece has heart, truth, and visibility. It is a reflection for those who work in theatre and an excellent learning tool for those who do not. Once the point has been proven, Anna has the play dive back into the magic of theatre for a gasping finale.
Currently playing until December 15. For tickets and show times, please click HERE.
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