A costume mishap becomes the most entertaining part of the December 14 matinee. An Einstein-ish wig worn by Boo Gabunada as Jacob Marley slowly starts coming off as he sings and dances to “Link by Link.”
I’m seated in Row B, so everything is in full view. Instead of focusing on Marley’s warning, I’m distracted by the slow-motion horror of watching the white wig inch its way off. Gabunada, to his credit, stays completely unfazed. He is an excellent actor, arguably the strongest in the cast, with a clear ability to act through song, communicating character, intention, and emotion even as chaos unfolds above his head.
Should the show go on? I wonder, mildly panicked, as his natural curly black hair begins peeking through. Co-actors try discreetly pulling the wig back into place, but nothing works — until Arnel Carrion’s Ebenezer Scrooge, his back to the audience but fully visible from where I’m seated, yanks the wig hard and fixes it himself. It’s unplanned, ridiculous, and easily the most exciting moment of the musical.
Courtesy of Loreta Arroyo/9 Works Theatrical.
It’s not that “A Christmas Carol: The Musical” by 9 Works Theatrical is bad. It’s actually a pleasant, solid production. Well, except for the overpowering live orchestra from where we’re seated (orchestra center, slightly left), which often drowns out the actors’ singing.
I don’t celebrate or believe in Christmas, so I don’t exactly feel its spirit, and this is not a secular play to begin with. The Madison Square Garden production established “A Christmas Carol: The Musical” as a commercial holiday staple in the U.S., a Broadway musical adaptation with music by Alan Menken, lyrics by Lynn Ahrens, and book by Ahrens and Mike Ockrent, based on Charles Dickens’ novella “A Christmas Carol.”
What still works universally is Scrooge’s childhood trauma and how it follows him into adulthood, molding him into a miserly, emotionally closed man obsessed with thrift, control, and self-preservation. That remains the most interesting part of the story. Carrion’s physical build suits the role, too, and he plays Scrooge as joyless and guarded without making him frightening, which is an important choice, considering the audience is packed with families with small kids.
Courtesy of Loreta Arroyo/9 Works Theatrical.
As everyone knows, glimpses of his past, present, and future suddenly cure Scrooge of his trauma. Lucky him—no need for years of therapy. But realism isn’t the point here. This is a magical play, complete with ghosts, meant to gently remind Christmas believers to be kind.
As a professional licensed production, 9 Works Theatrical operates within set parameters but still has room for creative choices. Director Robbie Guevara and scenographer Mio Infante make effective use of the Proscenium’s wide stage for a sparse, economical design.
The scenography features mesh-like architectural structures shaped like towers and village houses, lit from within to suggest shifting spaces and moods. And of course, we wait for the snow. Glow-in-the-dark chains float across the stage, their neon-green links moving almost like a dragon dance. It looks cool. But anything that glows in the dark usually does.
The costumes are generally lovely, too, except for the wigs. Almost everyone wears one, and most look cheap. Only Scrooge’s hair looks convincing, largely because it’s covered by a nightcap.
Courtesy of Loreta Arroyo/9 Works Theatrical.
The tap-dance number is fun, and Guevara opts to include a ballerina. The brief classical ballet moment is a nice visual touch. Blocking can occasionally feel busy, but it never becomes a serious distraction. Meanwhile, Menken’s music remains pleasant and familiar, with melodies that Disney fans will instantly recognize.
At times, the show feels like theatrical caroling. You know, the kind that shows up outside your house during the holidays. It’s familiar, earnest, occasionally uneven, and powered more by goodwill than nuance. But the short runtime works in the show’s favor, especially for children with short attention spans.
The little kids in the cast are adorable, and the ensemble stays committed throughout. In the end, the musical feels sincere. Whether or not you celebrate Christmas, or consider yourself a Scrooge, it leaves behind a simple reminder: be kind.
A Christmas Carol: The Musical is playing at the Proscenium Theater, Rockwell, on its closing weekend, December 20 and 21.