“The Meeting” at Ocean State Theatre Company

by Richard Pacheco

            The Jeff Stetson play, “The Meeting” currently at Ocean State Theatre  is inspired by an imaginary meeting between Martin Luther King, Jr. and Malcolm X in February 1965 in a hotel room. It is fast paced and vivid sparked by solid performances and deft direction.  It is the New England premiere.

It gets off to a slow start with montage of images and newsreels before and after the show. While the images are solid, they go on to long before anything happens onstage. When the play starts it is often taut, intense and provocative. The conflict of the two ideologies is often compelling and always interesting as the two men go at it, philosophies overflowing and ready. The philosophical differences between the two are well known. Kind preferred the much slower peaceful transition to equality in their face of Malcolm X’s more aggressive in your face tactics.

It opens with Malcom X and his bodyguard, Rashad in the hotel room as he enters with his pistol drawn, poised for trouble. The two end up joking and singing a Billie Holiday duet while waiting for the “king of love.”

The meeting between the revolutionary and the two men are immediately contrasted in their methods from the first. When King arrives. Rashad helps him off with his coat and manages to sneak in a frisk of him as well which gets a laugh. Both Malcolm and King get equal billing, but Malcolm by far is the most dynamic. Malcolm asserts that “aggression in the name of self-defense is not violence, it’s honor.”

          

Damron Russel Armstrong is Malcolm X. He is full of energy, zest and passion. He has an intriguing and dynamic mind and is very animated. He is in your face and hard to ignore. Armstrong delivers a winning performance, full of fervor and conviction.
        Marcus Deward Johnson is Dr. King. He is a man restrained and determined, mild in manner and style. He does not resemble King at all but has mastered his mannerisms, spirit and voice to deliver a fine performance.

Tony Mitchell is Rashad, the bodyguard. He is a hulking presence at once ominous and protective. Mitchell is fine as the bodyguard in a vibrant performance and musters humor when needed in contrast to his ominous size.

Ocean State Theatre Company's Producing Artistic Director, Amiee Turner directs with a keen touch and eye to pacing in the best of her straight play direction efforts which is perceptive and always on the mark. She also designed the set which is simple and works well evoking a 60’s seedy hotel room.

Stetson keeps his writing crisp and often insightful, with many gems along the way. He clearly and deftly defines each man’s stance and tactics to achieve their goals. Their social and political goals are very clear. Kind the advocate of non violence and Malcolm the advocate of do what is necessary to get the hob done. Stetson does a fine job of imagining how such a meeting would have gone, with its humor along the way. Two moments stand out for humor, the one when the bodyguard frisks King under the guise of helping him off with his coat and the other a touching moment when King gives Malcolm and doll for King’s daughter to Malcolm’s after Malcolm’s home has been bombed the night before.

The arm wrestling between King and Malcolm echoes their philosophical battle in concrete terms, making it more theatrical. What happens over this philosophical confrontation is the two men gradually reach a level of mutual respect as King ponders how much they could have accomplished if they had managed to work together for their mutual goals. Even thought set in the 1960’s it relates to contemporary headlines and news.

It will be presented again at Ocean State through Feb. 15.

"The Meeting" (28 January - 15 February)

OCEAN STATE THEATRE COMPANY

@ 1245 Jefferson Boulevard, WARWICK RI

1(401)921-6800

“Collected Stories” at 2nd Story Theatre

by Richard Pacheco

            Donald Margules “Collected Stories” is 2ns Story Theatre’s current production and it brought vividly to life by two sparkling performances that resonate in heart and mind, rich and intriguing. The play was commissioned and premiered by South Coast Repertory, Costa Mesa, California in October, 1996, directed by Lisa Peterson. The play was a Pulitzer Prize finalist (shortlisted in April 1997).The Manhattan Theatre Club presented the play off-Broadway, at Manhattan Theatre Club Stage I, from May 20, 1997 through July 27, 1997.

            Ruth Steiner is a teacher and respected short story writer. Her student and protégée is Lisa Morrison. Over the course of 6 years, Lisa journeys from insecure, naive student to successful writer who is getting to be as famous as her mentot. After publishing a well-received collection of short stories, Lisa writes a novel based on Ruth's affair with the poet Delmore Schwartz when she was young. It creates a rift between them, driving a wedge deeper between the women. The women deal with the moral dilemma of whether a person's life events are suitable for another to use in their own creative process.

The first act evolves as the two women become closer, Lisa the sycophant, fawning over her adored idol and teacher. Ruth, become motherly, sharing not only wisdom from writing, but tales of growing up Jewish in New York and her affair with poet Delmore Schwartz which left an indelible and persona mark on her life. These are tales she means not to tell as she points out some things are not meant to be told when Lisa asks if she has written it yet. When Lisa borrows this for her novel their relationship explodes into a massive battle of betrayal and fears.

            Lynne Collinson, Executive Director of 2^nd Story Theatre is Ruth Steiner. Ruth is independent, crusty, suspicious and guarded as well as savvy in the ways for writers and the writer’s world. She was noticed for her collection of short stories, catapulted into the limelight and then, over the passing years allowed to slip back into a somewhat obscurity, known mainly as a teacher and not as much as a writer any longer. She keeps the world at bay and warily, reluctantly allows her new student into this rich past with shared stories that she has guarded for years. Collinson is wonderful in the role, full of passion and packed with sincerity as she negotiates the tricky straits between mentor and wounded woman. The fireworks for the final scene with Sherba are explosive and impressive, memorable on so many levels. It is a brilliant performance.

            Gabby Sherba is Lisa Morrison, Ruth’s protégé who goes through several years from nervous, shy student to a young writer moving into her own after a successful collection of stories and on the verge of publishing her first novel. She starts off talented, needy and ambitious, if a bit over solicitous. She is looking for an artistic parent figure and has found it in Ruth. She deftly handles the transition from meek, adoring student of writer coming into her own with finesse and honesty. This too is a spectacular performance.

What evolves here is two excellent performances, sure to linger in the memory for a long time rich, nuanced and vivid and truthful. Lisa in an act she believes to be a testament to her mentor appropriates elements of the tale for her much anticipated first novel. For Ruth, it is an act of total betrayal and perfidy.  The explosion between the two is magnificent theater, haunting and inescapable.

Director Mark Peckham keeps everything vividly on course with an incredible array of emotional impact and richness. His directing is crisp and multidimensional.

The set by Trevor Elliot is brilliant, rich in detail as it recreates a 1990 apartment complete with walls loaded with art and shelves packed with books and the view from the window of the next door building in the rain.

These are performances ripe with integrity and sincerity, full of fine touches and dense with a range of emotions all truthful and glowing. The two are spellbinding and wonderful performances that never miss their mark. It is riveting and compelling theater, particularly the final scene which is magnetic and searing, magnificent theatre.            “Collected Stories” runs through Feb 8 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, $21 for those 21 and younger. Call (401) 247-4200, or visit 2ndstorytheatre.com.  

“Speed the Plow” at Theatre One

by Richard Pacheco

            Theatre One glides into the New Year with David Mamet’s Hollywood satire, “Speed the Plow” recently given a revival in London with Lindsay Lohan as the  secretary.  The Theatre One Production has some rough moments, but recovers to deliver some satisfying performances in Mamet’s not always satisfying play. Newsweek described Speed-the-Plow as "another tone poem by our nation's foremost master of the language of moral epilepsy. When first presented in 1988, it was nominated for a Tony for best play, best direction and best actor.

            The play begins in the office of Bobby Gould, who has recently been promoted to head of production at a major Hollywood studio. It is his job to find scripts to green light to  studio head Richard Ross to be made into movies. Longtime colleague Charlie Fox shows up with a coup, a script that movie star Doug Brown appeared at his house with a script Fox sent him some time before, ready to commit. It is a major feat as Brown usually works with another studio and his participation will mean sure fire financial success for the film and boosts in all associated careers. Gould wants to present this project in person to Ross.

            It all turns around when Fox wants a cup of coffee and enter Gould’s  temp secretary, Karen. Gould tells Fox about a book he has been asked to give a "courtesy read" to, meaning that it is not seriously being considered to be made into a film because the author is "an eastern sissy writer." After she drops off the coffee, Fox, who thinks she is neither a floozy nor a conniving ambitious girl trying to make her way up the Hollywood ladder suggests that Gould try and bed her. Gould offers Karen the chance to take part in the Hollywood process by reading the book and making a recommendation.

            It is then it all goes wildly awry.

            Omer Courcy is Bobby Gould, a man with a big promotion and the ability to green light films to be made and on close terms with the studio head after years of toiling in obscurity. He is on the verge of the biggest break of his life, a total transformation that will make him into a Hollywood player, his longtime dream. He is in the midst of not only potential triumph, but crisis. Courcy captures the longing that Gould has for success and also his conflicting motives with passion and conviction. He can also be uncertain and fragile as he confronts his fears and his desire for success and his sense of emptiness and loss.

            Bobby Genereau is Charlie Fox, longtime friend and colleague of Gould who has a deal of a lifetime drop into his lap when a big time movie star shows up at his house with script he had given him and a timeline on the deal—by ten the next morning.  He is eager to succeed and particularly with this gem that dropped into his lap, at all costs. Genereau is a man excited and moved by loyalty to get this projects working with his longtime colleague. He can be effervescent as he rambles on about what will happen in the midst of this success and dogged about emphasizing his underlying loyalty to his friend in Hollywood, a land that often has no loyalties and no friends in the face of the dollar. He can also show the uncertainty and fear with determination.

            Amanda Hayter is Karen, the temp secretary, new to the ways and wiles of Hollywood, who finds herself with the chance to play in the big time. Is she as naive as she seems, simply caught up in the ever shifting drama of Hollywood moviemaking or is she really a savvy temptress with her own secret agenda. Hayter captures the naiveté of Karen with determination and conviction.  She also deftly evolves into the more sensual and determined siren who has her own agenda.

            The first act, which is mainly between Gould and Fox needs a rapid fire, overlapping staccato to work. There seems to be something slightly off between the two actors, not quite on the mark. While they are deft in their staccato exchange many times, it seems to remain slightly off target, never completely connecting. Near misses. As the play progresses, it all gets more on track and gets more satisfying. The second act is by far more satisfying as things come together and the conflict emerges. This is as much to do with the play as it is with the acting. The second act is stronger than the first when things seem to gel more, hit the mark with more precision and effectiveness.

            It can be fiercely funny and provocative at times and at other times dark and disturbing.

Peg Saurman Holzemer directs and works hard to keep the rhythm and pacing on target. During the first act it fails at various points, moving in and out until it stabilizes and maintains its pacing and focus.

It will be presented at the Alley Theatre Middleboro, MA, 133 Center Street from January 15-25. Call 774-213-5193 for tickets and information. Tickets are $20, and $18 for seniors (65 and older) and students (with ID).

“Meet Me in St. Louis” at Ocean State Theater

by Richard Pacheco

            Ocean State Theater’s holiday treat is “Meet Me in St. Louis” based on the 1944 movie and it is indeed a treat full of nostalgia, vintage Americana and simple good feelings in abundance. It is a purely fun show, a musical delight that evokes fond memories of bygone days. thing, but got some of the biggest laughs of the night.“Meet Me in St. Louis” is based on the 1944 film with Judy Garland and made it to Broadway in this version in the late 1980s. This show has spirit even with some flaws and is well worth seeing. It was the second-highest grossing picture of the year, only behind “Going My Way.^”
            It tells the tale of the Smith family in St. Louis with the 1904 World’s Fair soon toe arrive and it will be the Smith’s last Christmas in St. Louis before moving to New York for papa to pursue a promotion and a better career, despite the family’s reluctance at leaving the familiar far behind.
           Recent RIC grad Sarah Pothier is daughter Esther, the role played by Judy Garland in the movie and she has an excellent voice, full of energy and poise. She delivers a wining version of “Have Yourself a Merry Little Christmas”  and in her trio with sisters Rose and Tootie a delightful “under the Bamboo Tree.” Her acting is full of finesse and sincerity.
            Joshua Stenseth is Esther’s love interest the charming and dashing next door neighbor.  He is engaging enough in the role, managing to deliver a sensitive portrayal, but his singing is a bit weak.
            Bobbie Celine Doherty is little sister Tootie, a bundle of energy and feisty. Doherty is sheer delight in the role, and she gets some of the biggest laughs.
            Hannah Spacone is sister Rose who is flighty a bit self absorbed and blind to al the world’s feelings but her own. Spacone gives a engaging performance as this young woman.
            There is also brother Lon, played by Michael Luongo who turns out to be an exceptional dancer as well showing off his stuff in the square dance number and the delightful and winning “The Banjo” number.
            Lily McMahon is sister Agnes, who is Tootie’s partner ins crime at all times. She is a fun foil for Tootie, full of zest and sincerity.
            Rebecca Barko is their mother, Mrs. Anna Smith,  the ever dependable, loving matriarch of the family. She shines in “You’ll Hear a Bell.” She and her husband stand out in “Wasn’t It Fun.”
            Ronald L. Brown is her husband Alonzo, a bit cranky and more than a bit ambitious wanting to get a promotion at work, one which takes him and his family to New York, despite their protests. He was a terrific baritone voice which shines in “A Day in New York.”
            Mark S. Pothier is Grandpa, a warm caring man who loves his grandchildren and has a good rapport with them. Pothier shows a winning side as Grandpa, although his singing voice is somewhat lacking.
            Stacey Geer is Katie the Irish maid. She is full of energy and a distinct presence. She is an excellent singer who knows how to sell a song as she does in her trio with Mr. and Mrs. Smith, “A Touch of the Irish.”
            Director and choreographer  Gary John La Rosa makes some of the acting stylized which sometimes strikes a false note. His choreography however is impressive, from the stunning square dance done to “Skip to My Lou” with its cartwheels and flips galore. Or the rollicking “The Trolley Song” with its vibrant energy.
            Musical director Esther Zabinski is right on the mark with the orchestra, provding a rich musical accompaniment throughout.
            The sets by Charles Murdock Lucas are lovely and loaded with nostalgic touches of Americana. The proscenium mimics the old proscenium arches of turn of the 20^th century theaters with its carvings. Behind three panels in an old fashioned drawing style shows houses and it all opens on to the Smith family house filled with vivid detailed touches like vintage photographs, and a grand staircase.
            The Brian Horton turn of the century costumes are elegant and impressive both in style and number.
            The production has many jobs overall and ends up a special holiday treat well worth seeing and bound to strike a familiar and fond note.
            “Meet Me in St. Louis” runs through Dec. 28 at Ocean State Theatre Company, 1245 Jefferson Blvd., Warwick. Tickets are $39-$54. Call (401) 921-6800, or visit oceanstatetheatre.org. 

“Trip to Bountiful” at 2nd Story Theater

by Richard Pacheco

            “The Trip to Bountiful” currently at 2^nd Story Theatre is sheer delight with winning performances and deft direction. It turns into an uplifting story of the indomitable spirit and sheer determination of human will to triumph over all obstacles to their goal, a perfect touch for a holiday spirit.

It tells the tale of Carrie Watts, an elderly woman forced by circumstances to live with her henpecked son and shrill controlling daughter in law, Jessie May. Carrie has one dream, to return to Bountiful, where she grew up, a place full of fondness in her heart. Stuck in her small Houston apartment, she continually tries to escape that limited prison for the broader expanses of her memories rooted in Bountiful, much to the chagrin of her daughter-in-law. Her previous efforts to escape are always thwarted by her son and daughter-in-law’s arrival just as she is ready to escape by bus or train. She tries hard to escape to see her childhood home one more time before she dies. It means the world to her, a treasure she cannot miss any longer, nor avoid, in a sense, her destiny. She is frail but feisty and with a mind of her own no matter what.

            “The Trip to Bountiful” was written by Horton Foote. The play premiered March 1, 1953 on NBC-TV, before being produced on the Broadway stage. Its 1954 staging earned Jo Van Fleet a Tony Award for Best Featured Actress in a Play at the 8th Tony Awards. The role of Carrie Watts won Geraldine Page the Academy Award for Best Actress for the film adaptation and Cicely Tyson the Tony Award for Best Actress in a Play at the 67th Tony Awards for the 2013 Broadway production, which earned a total of 4 Tony Award nominations.

            Paula Faber is Carrie and the epitome of restraint and determination, dogged determination no matter what she encounters. She will return to Bountiful no matter what stands in her way. It is a quiet determination, an iron will that is usually under control and hidden beneath a savvy restraint. She evolves and grows on you, not just some crazy old lady who is willful and determined with no good reason. She has a purpose and knows what it is and will not relinquish it, ever. Faber is in control and delivers an admirable performance as Cassie, one full of nuance and fine emotional touches.

Nathaniel Lee is her son Ludie. He is totally henpecked and at his wife’s mercy as much as his mother and plays the role of peacemaker and diplomat between the two women with caution and concern. He worries about his mother’s health and recoils at his wife’s cloying, downright ill tempered and self centered disposition, particularly regarding his mother and her pension check. Lee delivers a fine performance, one with a sense of underlying suffering and patience to a fault.

Lara Hakeem is Jessie May whose idea of life is reading movie magazines and drinking cokes. She doesn’t work and lords it over Ludie’s mother like an empress. She rules the roost and knows it. She is only concerned about her wants and needs and non on else’s. She is controlling and offers a daunting presence which hovers over all like a dark cloud. Hakeem’s performance is right on the mark, a picture perfect portrayal of a demanding , self absorbed woman who is only concerned about her desires and needs and no one else.

There is some strong support here with the smaller roles which show up throughout the play.

Joe Henderson is the sheriff who catches up with Carrie and helps her complete her journey to Bountiful. Henderson is caring and sincere in the role humane and understanding of Carrie’s plight and his duties under the law. It is an excellent balance.

The3re is additional strong support coming from Jim Sullivan and John Connery as two bus station attendants. Erin Olsen is there to provide understanding and compassion as a fellow traveler, Thelma, whom Carrie befriends in her odyssey back home and does a wonderful job, sincere and convincing.

There is some find live music on hand provided by Eric Behr, who adds color and depth to the play with musical resonance.

Director Ed Shea keeps a keen eye to period detail here and the emotional substance of the play, providing a rich, vibrant experience. While the play itself does not refer to Christmas it evokes the kind of warm feelings associated with this time of year, through vivid performances and excellent sets.

The set by Trevor Elliot is evocative and fascinating. The earlier large panels of painted scenery are reminiscent of American Painter Edward Hopper, in their moodiness and element of melancholy which pervades them. The ones later in the show are more reminiscent of Andrew Wyeth, still with that element of sadness and sweet remembrance.

“The Trip to Bountiful” runs through Dec. 21 at 2nd Story Theatre, 28 Market St., Warren. Tickets are $30, and $21 for ages 21 and under. Call (401) 247-4200, or visit 2ndstorytheatre.com.

“Barefoot in the Park” at Trinity Rep

by Richard Pacheco

“Barefoot in the Park” is a romantic comedy by Neil Simon. The play premiered on Broadway in 1963 and starred Robert Redford and Elizabeth Ashley. The play was made into a film in 1967, also starring Redford, and Jane Fonda and is currently playing at Trinity Rep in a splendid production full of energy, and vitality loaded with physical comedy and zippy dialogue brought vividly to life by a winning cast. This was Neil Simon's longest-running hit, and the tenth longest-running non-musical play in Broadway history. The play was nominated for three 1964 Tony Awards, and Mike Nichols won the award for Best Director.

Corie Bratter and Paul Bratter are newly wed. For their first home, they live in an apartment on the top floor (six flights up if you count the front stoop)of a Brownstone in New York City. The newlyweds face the realities of being married with surprise and at times dismay. They get to met some of the odd collection of neighbors, in particular one Victor Velasco, who fancies himself a ladies’ man and Romeo. Corey takes it in her head to introduce her mother, Mrs. Banks in the hopes that at least he will be a distraction for her, perhaps even a romantic interest. The newly weds head out to dinner with the older couple and everything goes crazy as the night transpires.

Charlie Thurston is Paul Bratter, a young attorney who I about ready to face his first case in court. He is also a  newlywed and very down to earth, feet on the ground, practical kind of guy his wife calls stuffy. Thurston is a marvel of comic timing in the role, with impeccable delivery and facial expressions He is also brilliant when it comes to physical comedy, recalling people like Dick Van Dyke, Charlie Chaplin and Jerry Lewis.  He is a sheer delight to watch in a comic gem of a performance.

Rebecca Gibel is Corie Bratter, the young wife, who is full of dreamy notions about marriage and feet off the ground in an airy attitude which is all centered on what she thinks and believes about the world and marriage. Gibel is a load of charm and energy, full of vitality and spunk. She is confident and self assured. She deftly captures the flightiness of Corie with skill and style.

Gibel and Thruston are a couple offstage as well.

Stephen Berenson is the apartment Romeo, Victor Velasco, who is full of dash and swagger, a smooth talker with an eye towards the ladies no matter what their age may be. Velasco is a gourmet cook and dime store Romeo who flirts with all the women, such as Corie and her mother with equal verve and dedication.  He just loves women and isn’t afraid to show it with a flourish and strut. Berenson is a delight, with comic aplomb in his timing and flair.  Velasco is inexpensive debonair in his capable hands and loaded with laughs.

Phyllis Kay is Corie’s mother, Mrs. Brooks, a widow who is beginning to feel the ravages of both being alone and getting older that way. She sleeps on a board or she cant sleep and her life it pretty much determined in terms of routine and her own rituals. Kay is wonderful in the role, with comic class and grace, full of the right nuances to make her character both endearing and very funny simultaneously.

There is solid support coming from the other two cast members as well, Uche Elueze as the telephone repairman and George Spelvin as the delivery guy. Both add some nice comic touches with zest and panache.

Director Michael Perlman keeps everything moving merrily along with a swift pace that is impressive and effective.

While the material seems a bit dated, the cast makes it all enjoyable. The long drawn out spat that leads to the brink of divorce seems like a tremendous abuse of time, but the actors make it all so much fun even it the material sags a bit due to its age and perspective.

The Daniel Zimmerman set design is a sheer gem, with moveable apartment walls that vividly create the outside of the brownstone and then glide open to reveal the insides of the apartment.

This is a must see production of comic finesse and excellence. There is so much here that is impeccable you’d be crazy to miss it. It is sheer fun and very well acted.

“Barefoot in the Park” at Trinity Rep ” runs through Dec. 21 at Trinity Rep, 201 Washington St., Providence. Tickets start at $46 Call (401) 351-4242, or visit trinityrep.com

“A Christmas Carol” at Trinity Rep 2014

by Richard Pacheco

            It’s that time of year again, the time to trot out those Christmas classics and show them off to best effect. Trinity Rep revives the classic Dickens tale this year from the adaptation by Trinity Founder Adrian Hall and Richard Cummings. It gets of to a shaky start with an awkward beginning scene it turns into rip roaring fun. Yes, there are some changes this year and they work well and is very satisfying and delightful.

            It masterfully evades sentimentality and sugary goodness while remaining poignant and moving where it should be. The familiar tale of the curmudgeon Scrooge, the epitome of skinflint transforms from Christmas hater to its most ardent devotee is a charming journey filled with many delights along the way that are sure to please.

          

  Fred Sullivan Jr. as Scrooge, the tireless businessman who finds value in the cash and not his fellow man is full of zest and energy. He is not brooding or dark as the earlier Scrooge, but instead is full of rambunctious  bluster, not at all a shriveled up mean spirited misanthrope. It’s a keenly delivered performance, full of humor and sizzling with energy. Scrooge is indeed a miser in his hands, but one full of presence and energy.
            Tom Gleadow is Jacob Marley, Scrooge’s now deceased partner.  He has some brief moments as Scrooge recalls the living partner and gives an indication of his business acumen and likewise stingy nature. When he appears as the ghost of Marley, wailing and howling, wearing chains and the grave trappings, he is ominous and may prove too frightening for younger children as the young girl near me begged her mother to leave which she eventually did.. It was very effective as he rises from Scrooge’s bed in the most eerie manner. Gleadow is right on the mark as Marley, delivering his ominous warning with purpose and determination. He is also effective as the ebullient Mr. Feziwig, Scrooge’s boss in his youth.

            Elise Hudson is the  Ghost of Christmas Past and she enters with flair and presence, as she descends from the ceiling in a white flowing gown that give the impression of airiness and flight. It is a spectacular entrance that leaves and impact and she is poised and patient as the spirit who leads Scrooge to his more pleasant past with fond memories such as the woman he almost married, Belle and the Feziwigs, Scrooge’s boss and his wife.

            Joe Wilson, Jr. makes an amazing entrance as the Ghost of Christmas Present, zooming in from above wearing tights, a handlebar moustache and top hat to hilarious effect. He bounds about with zip and zest as he speaks with Scrooge, full of merry energy and sheer fun. It is delightful.

            The Ghost of Christmas Future is a dark and ominous figure, looming and dark, with hands, rather massive threatening mitts which dangle to the floor, but is never really particularly terrifying or ever full of dark threatening prescience or menace. Ralph Adriel Johnson handles it with a brooding , nearly plodding movement that is dark, but not terrifying.

Anne Scurria does multiple duty here with the skill and finesse for which she has always been known as Mrs. Feziwig, Scrooge’s crusty and cranky charwoman is a pleasure.

Stephen Thorne is there as the hapless assistant to Scrooge, Bob Cratchitt. He is excellent as the frightened obedient employee whose concerns for his family and in particular his injured son, Tiny Tim keeps him in line at work for fear of losing his job.

Michael Jennings Mahoney is Scrooge’s nephew, Fred, son to Scrooge’s beloved dead sister and his only living family.  Fed continues to try to make contact with his uncle, reach him emotionally, but is always blocked by Scrooge’s indifference and mockery until his transformation by the ghosts’ visits. He is sincere and  convincing in the role, full of enthusiasm and conviction.

Henry Siravo who played Tiny Tim in the press opening was endearing and cute but did not show much enthusiasm in the scene where he blesses everyone. There are tow cast of children, the red cast and the green cast. The red cast performed on the press night.

For the purists, there are some elements missing or not emphasized here. There is no showing or mention of how Scrooge ruins his former boss in his descent to parsimony and self absorption. Scrooge’s break up with Belle lacks a romantic impact and power that it might have. But there are small things in an otherwise wonderful and entertaining version of the Christmas classic.

Director Taibi Magar keeps the pace moving merrily along, at times abbreviated, but always fun.

            The sets by Patrick Lynch and lean and streamlined, not heavy into detail and atmosphere, while they do indeed invoke the right mood and atmosphere they do so lightly and without a heavy hand.

            The Olivera Gajic costumes are rich and wonderful.

            “A Christmas Carol” runs through Dec. 31 at Trinity Rep, 201 Washington St., Providence. Tickets start at $31 for adults and $26 for children 2-14. Call (401) 351-4242, or visit trinityrep.com