Review: Scrooge as Industrialist: Greedy Capitalism batters the already broken in Dallas Theater Center's A CHRISTMAS CAROL

A Christmas Carol

Based on the novel by Charles Dickens

Adapted and Originally Directed by Kevin Moriarty

Directed by Alex Organ

Originally Choreographed by Joel Ferrell

Music Directed by Cody Dry

Produced by Dallas Theater Center

Audience Rating: PG

Running Time: 90 minutes (no intermission)

Accessible Seating: Available

Hearing Devices: Available

Sensory Friendly: Not Available

ASL showing: Not Available

Noises or Visuals to Prepare For: Haze, strobe flashes, loud noises, startling/scary ghost scenes (not recommended for children under 5)

Reviewed by Stacey L. Simpson

Dallas Theater Center's production of A Christmas Carol, adapted and originally directed by Kevin Moriarty and directed by Alex Organ, offers a striking and emotionally engaging take on the Dickens classic, avoiding trite Victorian sentimentality and grounding it in the harsh realities of the Industrial Revolution. It is well worth devoting one of your evenings between now and December 27 and making the trek downtown to the Wyly Theatre!

As soon as you walk in, you can see that the spectacular scenic design by Beowulf Boritt has transformed Scrooge's traditional bank setting into a grimy factory floor. Complete with large pipes, rivets, hatches, and fiery furnaces, Moriarty’s adaptation casts Scrooge (agile, expressive Blake Hackler) as a wealthy (but miserly!) industrialist, with Bob Cratchit (a likeable, sweet-natured Parker Gray) as his foreman and the ensemble as downtrodden factory workers shoveling coal. A young boy working in the factory is badly injured, giving Scrooge an opportunity to show us how heartless he is when he callously steps over the writhing boy and admonishes Bob to get the others back to work. Hackler gives us a Scrooge who seems emotionally stunted and sarcastic rather than merely “mean,” and the actor does a beautiful job of letting us see the character’s gradual realizations/emotional transformations in this demanding role. 

The factory setting underscores the themes of cruel capitalism and class struggle inherent in Dickens' story and takes full advantage of the Wyly Theatre’s impressive scale, with cleverly wrought set pieces and platforms rising and falling through the floor. The production is a feast for the senses. Lighting by Jeff Croiter is wonderfully moody and evocative, suggesting everything from cold, London fog to the warmth of nephew Fred’s parlor to the fiery pits of hell. Costume design by Jen Caprio and wig, hair and makeup design by Val Gladstone are top-notch and uniformly well executed across the large cast. 

Aurally this show was a treat from beginning to end. The opening sequences feature grim, clanking sounds and whistles to bring us into the action. This adaptation seamlessly integrates traditional Christmas carols and folk songs throughout, using them as part of the storytelling. The musical arrangements are elegantly spare, and Music Director Cody Dry brings forth heartbreakingly lovely vocal performances from the talented cast. I loved the inclusion of a small band of instrumentalists (Sam Henderson on bass/guitar/drums, Ian Ferguson on keys/guitar/bass, and Emma Gervasi on fiddle) appearing onstage with the ensemble, providing some background music and underscoring as well as accompaniment to the carols. Joel Ferrell’s original choreography executed by rehearsal choreographer Christina Austin Lopez adds energy to every scene and uses the space to its fullest. Also, and I can’t emphasize this enough: I heard every line, every nuanced sigh, every note with perfect clarity, thanks to excellent sound design by Broken Chord.

A highlight of the show was the introduction (via jump scare) of Marley's ghost, a terrifying spectre that underscores the horrors that await his former business partner if he doesn’t get his life together. The doomed spirit’s struggle with the heavy, clanking chains and agonized groans are energetically brought to (after)life by a terrific Tiffany Solano as Marley. Sarah Gay made a lovely, ethereal Ghost of Christmas Past, and Olivia Meredith as the Ghost of Christmas Present was charming and fun. Other notable performances among the excellent cast included Randy Pearlman and Liz Mikel as the fun-loving Fezziwigs as well as a pair of charitable folk with the thankless job of trying to squeeze a donation out of Scrooge; Zachary J. Willis as Fred, Scrooge’s eternally optimistic nephew, and Irene Rising as the brassy Mrs. Dilber. Listening to Rachel Nicole Poole as a grieving Mrs. Cratchit tenderly sing a Welsh folk tune was a high point of the show.

Although some may consider this a family show, I would take care with bringing your littles to this production - there are a few truly scary moments, as well as loud noises, flashing lights, and haze. The cast keeps the pace brisk, with the show running about 90 minutes with no intermission.

This is a time of year when many of us ponder our blessings and show gratitude for what we have. The vibrant theater scene in Dallas-Fort Worth is one of those blessings for which I’m grateful. DTC is partnering with the North Texas Food Bank to raise money to help our food-insecure neighbors, so be sure to find the collection points after the show. The Dallas Theater Center's A Christmas Carol is an energetic, technically stunning, and emotionally resonant adaptation of this classic tale of redemption. Don’t miss it! Tickets can be purchased at attpac.org/event/dtc-a-christmas-carol-2025

On with the show!

Stacey L. Simpson