Dolly Parton’s Smoky Mountain Christmas Carol a review by Sylvia Pritchard

There is nothing better to get one in the spirit of the season than a concert or a traditional Christmas play! Charles Dickens’ all-time holiday classic A Christmas Carol is perfect, but even better if you have the opportunity to see Dolly Parton’s Smoky Mountain Christmas Carol. Adapted from a book by David H. Bell and directed by Bobby Garcia, the musical premiered in Boston in 2019 and is now playing again at the Arts Club Theatre Company‘s Stanley Industrial Alliance Stage in Vancouver until December 24, 2024.

The play moves the plot and characters from Dicken’s London to Morton’s Holler in the Smoky Mountains of Tennessee on Christmas Eve, 1936. America is in the midst of The Depression and a massive snowstorm is approaching, similar to difficult Victorian London times.

This is the story of Ebenezer Scrooge and how he became the miserable miser, how visits from his old business partner Marley and three ghosts, Christmas Past, Present and Future help him to find the joy of love and giving, not only at Christmas but during
the year, too.

The stage is presented as a mixture of rectangular shapes moving into the distance, a small model of a snowy village in the centre. Shizuka Kai’s simple set does a great job of setting the tone for the show’s locale, inviting us into the rustic log cabins and small-town buildings. The miniature rendering of the town helps us visualize where the action is happening without the need for large set pieces or backdrops. Set pieces are almost entirely on wheels and make for quick and smooth set changes, usually happening as scenes continued on. The warm wood stove moves from location to location spreading symbolic meagre warmth. Surrounding all the action was a wooden frame pinned with wagon wheels, one which became Scrooge’s dreaded clock marking the quickly moving time of his life. Along the top horizontal beam, a miniature train chugged across the stage, leaving tiny puffs of smoke behind it.

Ebenezer Scrooge, the magnate of the coal mining town owns everything; the mine, the bank, the school, the police and the grocery store, so basically the residents, too. Obsessed with the bottom line of his assets, his only concern is keeping his books in the black. Evicting people, keeping them under his control and the big fear of potential workers’ rights and improved working conditions occupy his mind to create a hateful character.

The story is partially told by residents of Morton’s Holler who gather every Christmas season to recount the tale of Scrooge. Though some of the fifteen cast members play multiple roles, the characters are clearly defined, preventing any confusion. While the cast excelled with their enthusiastic performances, the live musicians also deserve special praise. Fiddler Kathleen Nisbet pulled double duty, acting as the silent Ghost of Christmas Yet to Come, who communicates with Scrooge through her instrument alone. She and the rest of the seamless quintet scored the show with both original Parton songs and seasonal gems like “Once Upon a Christmas,” “Smoky Mountain Christmas,” and the lovely reoccurring “Three Candles”.

Scott Bellis brings his exceptional talents to the role of Scrooge. He is both frightening and hilarious as the evil Scrooge, and loveable in the reformed version. Nick Fontaine does a stellar job playing both Eben (the young version of Scrooge) and his kind-hearted nephew Fred. Fontaine’s portrayal of Eben’s dark descent is chilling, and his charm as Fred brings a warmth to the
show.

Perhaps the most touching aspect of the show is the father-and-son relationship between Charlie Gallant as Bob Cratchit and young Nora Cowan as Tiny Tim (Cowan played the role on opening night and alternates with Elena Banares). Both are excellent in their roles.

Jocelyn Gauthier also stands out in her portrayal of multiple roles including Scrooge’s sister Fanny and later, his love interest Sadie. It can be disconcerting to see both these characters played by the same actress. Jocelyn glows onstage as Fanny with her smile and lovely rendition of “3 Candles”, and then does an excellent job of switching gears and showing us the complex issues Sadie faces, feeling she has to leave Morton’s Holler to have any future.

Director Bobby Garcia has done a stellar job of bringing together the skilled efforts of the creative and performance team, allowing each artist to shine in their own way. Parjad Sharifi’s lighting adds to Kai’s set design to produce a whimsical quality. For example, some set pieces glow from within, such as lanterns, and the miniature town rendering. Carmen Altatorre’s costuming – a collection of dull, 1930’s era winter garments – appropriately captures the look of a small mining town during the depression.

And there’s some fun to be had here too – there’s a scene where a chorus of ghosts spring up in Scrooge’s bedroom. These ghouls are cloaked in the drab material worn by the town folk, and have tree branches for hands. With the addition of Rick Calhoun’s superb sound design and sound effects you feel immersed, especially with the sound of the whistling wind. Alternatively, a scene where the townsfolk all study gigantic “Wish Books” nostalgically reminds us of our childhoods. There’s a splendid Grand Ole Opry style entr’ acte to enjoy in which fiddle, banjo and spoons are prominent.

Musical director Ken Cormier has done a good job of working with the cast and musicians to perform Parton’s score. The vocals and music sound wonderful, including some first-rate harmonies from the cast. Julio Fuente’s stylized choreography does an excellent job of bringing to life the spirit of the townspeople.

Madeleine Suddaby truly demonstrates her talents as a true triple threat performer throughout the show, convincingly playing a multitude of characters including the Ghost of Christmas Past and Scrooge’s maid, Mrs. Dilber, where she delivers some great comedy relief.

After Jacob Marley visits, the Ghost of Christmas Past, reminds him of his love for Sadie, while Christmas Present shows his Mother’s furniture being used for firewood and Tiny Tim getter weaker. His Future frightens him into action and by the play’s conclusion, Scrooge makes his amends and extends his hospitality to family, employees, and strangers alike. But the relatively swift ending did not diminish the heart and warmth of the story that was the miserly Scrooge’s redemption. The ultimate lesson rang as clearly as Christmas bells: we are stronger as a community than as individuals, a thought as important in today’s society as in Dickens’ time! We watch companies focussed on increasing profits that forget their role in the community.

Make the time to go see this wonderful, joyful year end production to warm your heart and raise your spirit!