By Amanda Knox

This year ACT is performing its 40th Anniversary Production of a yearly holiday tradition, A Christmas Carol. It’s a bit ironic, considering that ACT is otherwise a theatre focusing on contemporary, progressive theatre productions. But that’s OK. Some stories have staying power. A Christmas Carol is a sentimental reference point for many who celebrate the Christmas holiday—that’s why there are so many iconic film versions—so why shouldn’t it be so for ACT as well?

ACT’s A Christmas Carol suffers from its attempt to reconstruct the cinematic, without the benefits of cinema. For example, Kurt Beattie is a brilliant Scrooge when he’s hunched behind his accountant’s desk, rhymically counting coins, barking orders, and scowling scorchingly at anyone who looks at him the wrong way. But it is most awkward to watch the same Scrooge flail his arms about his head and twirl around the stage in order to recreate the idea that he is flying through the air on his way to the past. Why not take advantage of the strengths (instead of emphasize the weaknesses) of the theatre to arrive at these same scenes? Scrooge doesn’t need to fly.

ACT’s A Christmas Carol is at its best when it takes advantage of the direct connection the theatre offers between the talented actors and the audience, and also when it gets wacky and weird.

In terms of the weird, G. Valmont Thomas is an excellent Jacob Marley, with amazing physicality that takes up the whole stage. He is effectively creepy and pitiful from the moment he erupts from beneath a trapdoor, lurches around the stage, dragging his chain, to the moment he is finally dragged back down again, moaning and wailing. Similarly, it is a surprisingly weird and creepy moment when the oft-overlooked characters Want and Ignorance writhe out from underneath the Ghost of Christmas Present’s robes, wrapped in rags like tiny, freaky, memorable mummies.

In terms of the wacky, Rob Burgess is a winning Mr. Fezziwig, also effectively taking up the full stage with his jolly clowning that comes across as very genuine and benevolent. Another oft-overlooked character, the Turkey Boy, also becomes memorable through Brandon Oke, who puts on the most hilariously incredulous face, and exclaims, “Why, it’s Christmas Day!” To top it off, he exaggeratedly thrusts his arms out in front of him a few times for good measure. It’s hard to explain how funny this is without just seeing it.

All in all, for a theatre that usually caters to “curious, open-minded, and brave audiences,” ACT’s rendition of A Christmas Carol features strong, talented actors, but is disappointingly unsuccessful when attempts to recreate iconic film productions. It would have been better had ACT re-envisioned the story so that it catered better to the theatre setting. As it stands, you might as well just watch one of the film versions—The Muppet Christmas Carol being my personal favorite.

A Christmas Carol plays November 27 – December 20, 2015 at ACT (700 Union St. Seattle, WA 98011). Tickets are on sale now and may be purchased online at www.acttheatre.org or by phone at 206.292.7676, or at the box office.