By Larry Laneer
November 12, 2020
This marks the tenth year Lyric Theatre of Oklahoma has been staging A Christmas Carol. The production is revamped every five years, so this was to be last of the current version. Then, things went to hell in the pandemic with theater hit as hard as any industry.
Doing a show every year can become ritualistic, but one of the amazing facts about Lyric’s production has been how they’ve kept Christmas Carol fresh season after season for a decade. Thus, theatergoers will not be surprised the company came up with a brilliant concept and presents the familiar story in a completely new light.
Under the leadership of producing artistic director Michael Baron, who adapted Charles Dickens’s story for the stage, and top-notch collaborators, the company is presenting the show outdoors at the Harn Homestead, a territorial era farm smack dab in the middle of Oklahoma City, just a few blocks south of the state capitol. We’re used to seeing scenery move across the stage, but in this production, the scenery stays put, and the audience moves with the scene changes. It’s a pleasure to report this adaptation maintains the high standards Lyric has always had with this show.
The Harn Homestead has a two-story farmhouse, a wonderful stone barn, and other buildings. Lyric consulted a designer who’s an expert on outdoor theater. Scenes take place on front porches or rustic platforms built for this production, creating fine sightlines for the socially distanced audience, limited to 100 per performance. All this is seen under Fabian J. Garcia’s lighting design that about equals anything you would see Lyric do at the Plaza or Thelma Gaylord. Audience members are required to wear masks, so the fog on your eyeglasses adds to the atmosphere. Sound design has always been an important part of this show, and Josh Schmidt and Corey Ray have brought the electronic torrents to the farm. (One wonders what the neighbors think, though.)
Costumed “lamplighters” lead audience members in groups through the show. Directed by Baron and Lyric associate artistic director Ashley Wells and running one hour, 15 minutes without intermission, the show flows with the intricate smoothness of the first-class marching band. We still see the Ghost of Christmas Past aloft, while the Ghost of Christmas Present is in a loft. Jeffrey Meek’s costumes retain the subtle sumptuousness and edge of the indoor version. You wouldn’t want to meet the Ghost of Christmas Yet to Come in a dark alley. By keeping it simple, Lyric achieves a total effect that’s remarkably appealing. Something about several actors holding lanterns and spread across a lawn in a late scene has a quiet, dignified beauty.
The unmasked, socially distanced actors wear body microphones, and cleverly disguised speakers set throughout the playing area. The show plays for a much longer run than usual, so all roles are double cast, not just the children. At the reviewed performance, Jonathan Beck Reed, who originated the role of Scrooge in the first Lyric production, railed in top form as the world’s most infamous curmudgeon. W. Jerome Stevenson will alternate with Reed. This may inspire theatergoers to go twice to see both casts.
How Lyric leadership, staff, and artists came together to find the venue, adapt the show, and make it happen to a high degree of quality would be an outstanding theatrical achievement in any season. Now, it’s downright inspiring. Just when inspiration is one thing we need more of in these harrowing times.
A Christmas Carol by Charles Dickens, adapted by Michael Baron