A ghost of a Christmas present
If there’s one discovery Michael Shamata and Amanda Lisman have shared since they first collaborated on A Christmas Carol, it’s that what the Charles Dickens classic has to say remains relevant.
“The social ills Dickens was addressing when he wrote the book [in 1843] are still present, as well as the beauty of life, which he celebrates, and the romantic notion of being able to change your life,” Shamata said.
The Belfry Theatre’s artistic director was taking five, relaxing on a bright-green sectional sofa in the Fernwood theatre’s tastefully upgraded lobby the day before its Christmas show’s opening night.
Meanwhile, Tom McBeath, returning for his third year as Ebenezer Scrooge, and other members of a cast that includes Gerry Mackay as Jacob Marley and Brian Linds as Mr. Fezziwig performed select scenes.
“The piece is totally relevant to today, with capitalism, greed and poverty, and the need to make sure all children receive an education, because if you don’t, the wheels of poverty just kind of continue,” Shamata said.
The production that ends Dec. 17 marks the third consecutive year Shamata has helmed A Christmas Carol here, and the16th time he has directed productions of it, his first starring Canadian acting legend Douglas Campbell.
“There’s something about the story that is incredibly beautiful, the need to just be present in the world. Like the ghost of Christmas past keeps saying, ‘Look. See the beauty around you. See the need around you.’”
Indeed, judging by the action onstage, where McBeath, whose dark coat, mutton-chops and commanding presence conjures memories of Christmases past, beauty appears as integral as drama to the staging of this Victorian-era classic.
The production’s atmospheric lighting, magnificent set and the spectacle of elaborately costumed professional performers reviving this Dickensian story is a sight to behold.
Lisman, playing Belle for the third time, says she couldn’t resist the opportunity to play Scrooge’s disenchanted former fiancée again in her hometown, where she got her start in acting.
She said she finds that the material resonates more each time she does it, not just personally, but “in the way the world is turning” in 2017.
“In these divisive, individualistic, capitalistic times, I love being a part of this story of joyful transformation,” she said. “It reminds us of the need for charity, altruism and the importance of thinking of others.”
The Toronto-based Lisman has become an increasingly familiar face on screen these days, with notable credits including her guest-starring role as Jill Miller on USA Network’s hit legal drama Suits.
“I had no idea how popular Suits was until I became a part of it,” said Lisman, who also recently filmed episodes of CW’s iZombie, NBC’s action series Taken and Jerry O’Connell’s new detective drama series Carter.
Lisman, whose local stage credits include starring roles in Blue Bridge Repertory Theatre’s Private Lives and My Fair Lady, is also focusing more on doing stage plays nationally.
Her credits include three seasons at the Stratford Festival and, more recently, roles in Noises Off and What’s In a Name? at Montreal’s Segal Centre for Performing Arts, as well as her recurring Colgate commercials.
“I’ve been in this profession 10 years, and you build a resumé with Shakespeare and classical theatre and, of course, everyone goes: ‘You made it! You did a Colgate commercial!’ ” she said.
Stage manager Sara Robb says that with a cast of 14, including four children, “which adds something awesome to the mix,” this is a big show for the Belfry.
“We have a child wrangler to make sure the children are safe, and it takes a bit of pressure off the stage-management team to make they’re in their spots and ready to go,” she said.
“We want to make sure they’re well taken care of and that it’s a good experience for their families, because you never want to make a child jaded.”
Indeed, A Christmas Carol keeps the stage crew on its toes, adds assistant stage manager Christopher Sibbald.
“There are a number of large props and people and bodies moving towards costume changes — big set and prop pieces and large prop tables backstage, big pieces of furniture and just a lot of bodies in a small space,” he said. “For us, it’s all about traffic [control] backstage.”
Adds apprentice stage manager Becca Jorgensen with a laugh: “Some days I felt like I was drowning in crinolines and petticoats.”