THEATER

A Christmas Carol

by Charles Dickens

directed by Larry Carpenter

at the Wilbur Theatre

through December 27

"Scrooge" is listed right before "scrotum" in the dictionary--ironic, considering how close Ebenezer Scrooge is to a penis.

He refuses to partake of the benevolent Christmas spirit. To such words as "goodwill" and "brotherhood," he responds, "Humbug," not because the second one is politically incorrect, but because he's just a greedy, unfeeling jerk.

The performance of A Christmas Carol at the Wilbur Theatre (home of the world's most conscientious ushers, e.g. "This aisle, the fifth seat in, watch your step, enjoy the show...This aisle, the fourth seat in, watch your step, enjoy the show...") is the same drama whose plot we have known since time immemorial. Scrooge is bad. Three ghosts come to teach him a lesson. Scrooge flees from the dark side and joins the good. The end.

The Wilbur's production mixes merriment and zaniness with some fine acting. It opens with lively caroling (as befits the title). Yuletide favorites pepper the performance, accompanied by a (loud) solo organ. Immediately a few narrators quote Dickens's text verbatim; adapter/director Larry Carpenter has no intention of inflating this into anything but a story.

An energetic Paul Benedict, as Scrooge, is the actor you know you know, but you just can't place. (His place, for trivia's sake, is "on the East side, in a deluxe apartment in the sky." He played the off-beat neighbor, Harry Bentley, on television's The Jeffersons.) Benedict dominates the stage throughout, although one does worry that he might keel over due to coronary failure brought on by excessive energy expenditure. The rest of the company, from toddlers on up, performs relatively anonymously but nonetheless effectively as background for Scrooge's transformation.

Before his epiphany, Benedict's Scrooge is a character reminiscent of a man clearing his throat and phlegming up mucous. The phlegm is all gone by the end, and a jolly, giddy, bright and shiny Scrooge emerges to love and be loved.

Scrooge's one friend is his ex-partner Marley. Now residing in some realm of hell, Marley arrives on the scene to save Scrooge's soul. That is, after all, what friends are for. Marley resorts to scare tactics and sends three ghosts to "urge" Scrooge towards a righteous Christmas spirit.

The arrival of each ghost is accompanied by a flurry of activity and noise, sometimes culminating in a boom! that sends the audience jumping from its seats. At these moments, the well-timed lighting and flowery costumes seem especially effective.

Ghost of Christmas Past, a delightful angel (Maureen Silliman), transports Scrooge back to his childhood. Back then, we learn, the penile protagonist partook of Christmas in the spirit of most Christian children--perhaps Marley's ghosts can revive some of Scrooge's youthful cheer.

Next, Spirit of Christmas Present (James Javore) takes Scrooge to Bob Cratchit's (Tony Aylward) house. Here, Scrooge watches loving family members care for each other and for a young waif, Tiny Tim, played to his adorable waifness by Daniel DeMarco. Upon seeing the love this family musters despite its destitution, Scrooge edges ever closer to regaining his past glory.

Marley sends in the big guns with the Ghost of Christmas Future, a two-story high beast that breathes fire and brimstone. He brings Scrooge to a time after his death. Scrooge witnesses how his relatives celebrate his demise. Maureen Silliman plays a second memorable role as Cynthia the silly sister, raucously gallivanting around the stage. This helps Scrooge, someone once "solitary as an oyster [so that] no warmth could warm him," realize that even his family hates him, that this is bad, and that he should reform--and quickly.

Someone might comment, "Everyone knows this story, so watching another reiteration is far from thrilling." However, considering its message, its often wacky moments and the overall cheerfulness, this production is a happy, worthwhile time for all, especially the young.