MetroStage is kicking off the Christmas season a bit early with “A Broadway Christmas Carol,” a rousing tribute to Charles Dickens’ “A Christmas Carol” and over thirty Broadway shows, some old, some new, all classics. Created by Kathy Feininger, the mini-musical uses the structure of “A Christmas Carol,” adding well-known Broadway numbers, their the lyrics altered to reflect the Dickensian story line. Thus the show starts with “A Broadway Christmas Carol Tonight,” its melody recalling “Company Tonight” from “Company” then moves on to introduce Scrooge (Michael Sharp) singing “We’re in the Money,” changed to match Scrooge’s stingy personality: “I’m in the money,” Scrooge gleefully croons.
It’s a clever concept and, as directed by Sharp, the show is fast-paced and entertaining. All the roles are played by Sharp, Matthew A. Anderson and Tracey Stephens, with occasional help from music director Elisa Rosman.
| Onstage |
| ‘A Broadway Christmas Carol’ |
| Where: MetroStage, 1201 N. Royal St., Alexandria |
| When: Through December 18 |
| Info: $25 to $50; 800-494-8497; metrostage.org |
Sharp’s depiction of Scrooge is witty and incisive, from his first appearance as the miserly Londoner through his transformation and redemption by the ghosts of past, present and future. Sharp also choreographed this show, no simple feat since the musical’s hyper-active dancing and movement must flow smoothly in a small playing space.
Anderson is also a fine performer and plays a variety of roles, everything from Scrooge’s clerk, Bob Cratchit, to the young boy who is hired by Scrooge to buy a goose for the Cratchit family Christmas.
The third performer, who portrays every female part from Mrs. Cratchit to Scrooge’s sister, is Tracey Stephens. Stephens changes voices and costumes with lightning speed and belts out many of the production’s finest numbers, her powerful soprano lighting up the theater. In addition to being an excellent singer, Stephens is a talented comedienne, which is most important to the success of this show, which relies as much on humor as it does on musical virtuosity.
Some of the songs are more inventive and therefore more successful than others. The best include: “Try to Remember,” “As We Dance,” “(This Was A Real Nice) Pudding,” “Hard Knock Life” and “Send Him Home.”
As for the music, if you’re a passionate Broadway fan, you’ll get a kick out of the references to great masters from Sondheim to Rodgers and Hammerstein. Even if you don’t make the connection to all the music, the high-octane, vaudevillian comedy of “A Broadway Christmas Carol” is plentiful and fulfilling on its own.
