Christmas is a a timeless celebration celebrated by most people around the world, even those who do not believe in Jesus Christ or the existence of a God. The joy it brings is just infectious, with the warmth of gift-giving, greetings of people important to us in our social media accounts or through our mobile phones, and the spirit of generosity.
The tilted textured set pieces designed by Ed Lacson Jr. sets the tone for an undercurrent of misery ever-present in Christmas: not all can celebrate equally. In a town of simple folks, there lives Ebenezer Scrooge (Miguel Faustmann) who made a lot of money over the years but who does not live to enjoy it, his every thought preoccupied on how to save every penny and even multiply it. In the same town lives his employee Bob Cratchit, the father of Tiny Tim who wants nothing more but to provide a simple turkey dinner for his chronically ill son and family. But alas, his money can only afford them a small chicken.
The musical starts with Scrooge portrayed as an old man living alone save for a made, who hates Christmas so much that he doesn't even want to go to the annual reunion of his relatives. Fred Anderson (Arman Ferrer), his nephew and the son of his later sister Fran, is relentless in inviting him yearly but he would have none of it. Scrooge's disbelief in the spirit of Christmas is further explored in the scene which shows three townsfolks who ask for donations. Of course, Scrooge does not give anything at all and shoos them away, just like he does with a blind female beggar, even knocking her down remorselessly.
The direction is evenly paced and Scrooge's transformation is better felt this time around, compared to last years staging by the same theater company, Nineworks Theatrical. A notable difference aside from the set design is Jacob Marley's part. Aside from having a different actor for that role (Noel Rayos instead of Ariel Reonal), the creatures with him now look like Maddie Ziegler, the girl with the blonde wig from Sia's music videos. I find the total revamp of the production numbers involving Scrooge's visitors totally refreshing especially for those who have watched last year's production. Something new which is creepy yet amusing is the head of one "Sia" creature being tossed around.
This is also Franco Laurel's comeback as a performer after some years of hiatus and he is totally unrecognizable as The Ghost of Christmas Past. His antics and prancing around bordering on flirtatious issuch a delight to watch, even as he is showing painful memories of Scrooge losing his loved ones which clearly illustrate the old man's disdain for Yuletide.
Nico Dans, looking imposing at first and reminiscent of Demigod Maui from Moana, shows Scrooge what he has failed to see because all he does is count money and worry about it. The image of the socioeconomic gap was burned into his mind, with Tiny Tim an apparition he can't get out of his mind. Like a snow slowly melting from the warmth of summer brought about by the sun's embrace, the change in Scrooge was obvious as he witnessed the happy Cratchit family who are trying to make the most of what they have and the boy's simple wishes.
Rissey Reyes, who played the Ghost of the Christmas Future, is a very fantastic dancer and has a strong stage present even though her role didn't have any lines. She convincingly drove the final nail which would be the ultimate catalyst for change for Scrooge as she spun and spun while showing him what grimness the future holds for him and Tiny Tim if he doesn't change his ways.
The choreography by PJ Rebullida was fantastic as usual and it's interesting to actually make a bet on who could jump the highest or spin the fastest, since all of them does these things flawlessly and in perfect unison when needed. The catch is that most of the cast are not really trained dancers so it is a wonder to see them perform like this. Another brilliant decision of Robbie Guevara as a director is to actually have them all stay in the proscenium space instead of having blockings that are semi-thrust. The running time is actually shorter, the story is more compact and engaging, and the climax is more compelling.
Catch A Christmas Carol on its remaining shows from 26-27 at 8pm and 25 at 7pm. For tickets, contact Ticketworld at 891-9999.
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