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0 of 3 Premium Clicks used this month SUBSCRIBE Print + Online Subscriber Activation | Register x Forgot Password | Need an Account? subscribe | newsletter | deals Classifieds Jobs Autos Real Estate FEATURED » NEWS NOW Conversation will focus on affordable housing ... Food for Hope drive helps feed Ashland families ... When you can go home again — with some help ... Conversation will focus on affordable housing ... Food for Hope drive helps feed Ashland families ... When you can go home again — with some help ... REVIEW Review: Oregon Cabaret Theatre's 'A Christmas Carol' brings warmth to the season Comment By Jeffrey Gillespie For the Tidings DailyTidings.com By Jeffrey Gillespie For the Tidings Posted Nov. 22, 2015 at 7:36 PM By Jeffrey Gillespie For the Tidings Posted Nov. 22, 2015 at 7:36 PM » Social News When approaching a piece of theater as exalted and time-honored as Charles Dicken’s “A Christmas Carol”, it’s often difficult to find anything new to say. Directors and adapters are frequently left to tinker at the sidelines of the process, leaving most of the responsibility on the shoulders of the actors, and more often, to the broad appeal of Ebenezer Scrooge, a character whose impact on the culture is so pervasive that his name has become synonymous with misanthropic crankiness the world over. It was pleasing indeed, then, to attend Oregon Cabaret Theatre’s new adaptation of “A Christmas Carol”, which was not only appropriately faithful to the novella, but also refreshing, compelling and altogether good fun. In the early stages of the play, Scrooge, played with pince-nezed disdain by John Leistner, comes across as somewhat less contemptuous of his fellow man than most viewers might traditionally expect from so reviled a character. The initial impression is that Leistner himself may have been miscast; too nice a guy in real life to play the notorious curmudgeon. However, upon the arrival of other cast members, most notably those in the larger ensemble, it became clear that the production is designed to be played broadly and cheerfully, and so it was, to excellent effect. There are great comedic moments in Scrooge’s hurled insults. Leistner is a splendid jokester, whose time on stage is engaging and wholly entertaining. But it is the arrivals of the Ghosts of Christmas Past, Present, and Future (played by Beth St. John, Scott Ford, and a masked actor who remains unidentified in the program) that presage the most enjoyable moments in the play. St. John has a wonderful capacity for physical nuance, and she settles into her role with a light elegance and a sense of magical realism that makes her a joy to watch. The anonymous artist playing Christmas Future, too, does a great deal with physicality and costuming. The ambiguity and limitations of a silent role adds a drama and suspense to the action that is intelligent and involving. The stand-out performance of the evening, however (along with Leistner's), came from Scott Ford as the Ghost of Christmas Present. Ford is a delight. His porcine and ponderous performance conveyed to this critic the sly jocularity of a genial uncle. His costuming, as well as his character's propensity for food, wine and good-natured jostling, made him a most convivial spook. Stefan Espinosa as the put-upon Bob Cratchet gives a suitably cowed performance in his debut at OCT. Stephen Kline as the deceased apparition of Scrooge’s mentor and business partner, Jacob Marley, also gives us a great ghoul. Vanessa Ballam and Jessica Blaszak are effective in their brief turns as the put-upon wives of the Victorian era, as is Patrick St. John, also in his first show at OCT, as Fred, the well-meaning nephew of Mr. Scrooge. The child actors are also on form, with Ella Robinson as Fanny, Nico Moore as Tiny Tim, and Will Ransom as Peter, all variously adding their youthful charm to the dynamics within the Cratchet family. The full ensemble, especially those members who spend time caroling, dancing and otherwise creating a warm seasonal environment, can be commended for their enthusiasm. By the end of the play, the audience is feeling the Christmas spirit, well ahead of old Ebenezer, who we know only drinks the Kool-Aid (or is it eggnog?) in the final few moments of the action. Valerie Rachelle directs with clarity, and the production is lush while leaving no unnecessary fat on the bones. As writer Rick Robinson states in his notes on the adaptation: “we wanted a Carol that fits our needs ... an agile script ... with very simply drawn locations and quick transitions”. The staging, lighting and costumes were wonderfully handled and take away nothing from the play; that is a credit to the professionalism of the Oregon Cabaret Theatre. They have delivered a scrumptious holiday entertainment that will delight and engage adults and children alike. With this “Christmas Carol” (as well as a stellar production of “Cabaret” earlier in the season) Robinson and Rachelle are staking a heck of a claim; one that makes OCT an increasingly feasible alternative to that 800-pound gorilla down the street. — Ashland resident Jeffrey Gillespie is a Tidings columnist and freelance writer. Email him at gillespie.jeffrey @ gmail.com . By Jeffrey Gillespie For the Tidings DailyTidings.com By Jeffrey Gillespie For the Tidings Posted Nov. 22, 2015 at 7:36 PM » Comment or view comments Reader Reaction » STAY INFORMED Email NewsLetter Sign Up Today Sign up for our newsletter and have the top headlines from your community delivered right to your inbox. 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