A Christmas Carol Tarleton University: “I think one thing that’s really beautiful about live theatre specifically is the trust between the audience and the actors on the stage. Because the audience knows it’s not real, but they trust us, and they let themselves be fully engulfed by our story and these characters. And theatre teaches you lessons even if you don’t know it, and you keep those lessons subconsciously for the rest of your life.”

Cheyenne Nash, Lighting Designer

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This year my adaptation of A Christmas Carol will be haunting several stages across America this Christmas including the stage at Tarleton State University in Stephenville Texas. A few weeks ago, I had the opportunity to chat with Prudence Jones Assistant Department Head and Associate Professor of Theatre and several of the students involved with the production of A Christmas Carol.

JAMES HUTCHISON

So, Prudence what do you think it is about the story of Ebenezer Scrooge that still appeals to people more than 175 years after it was written?

PRUDENCE JONES

We all respect and want to see a redemption story. Getting to watch Scrooge and see him change from being this miser to being a good person and realizing that he is not the most important person out there is important, because inside of us all we have qualities about ourselves that we may not like, and we may want to change. A Christmas Carol allows us to see that there is the possibility for someone who was so bad to do what’s right and change and to realize that we are responsible for the other people on this planet – not just ourselves.

JAMES

This is a big show. It’s a large cast. There are lots of scenes, tons of things happening. So, how do you as a director work on a show like this and bring it together?

PRUDENCE

There’s a lot of leg work before we even cast the show. I am a very detail-oriented person, so I spend a lot of time taking the script and breaking it down. Tracking who could play multiple parts. Making sure I know where individual characters are going to be within the show as well as the set pieces because for this particular show the set pieces are moving and double-sided. So, we have Scrooge’s counting-house that turns around to become his bedroom. And the other side of the counting-house turns around to become the Cratchit’s home.

I also have really great assistants, like Larmie who is handled all our choreography and Sarah our stage manager. It’s really important for me as a director to have people that I can rely on. And so, in rehearsal they’re able to use all that prep work that I did to track all the pieces – the props and the actors and the sets and it allows me to focus on my creative side and to be a director.

JAMES

Larmie as the choreographer on the show there’s the party at Fezziwig’s and the description that I’ve put in the play is simply that they perform a dance of the period. What can you tell me about the dances you’re featuring in the production and how you go about working them into the play?

LARMIE GAMBRELL

Right from the get-go Prudence and I had discussed that we wanted to do a waltz because that was a popular dance during that time period. So, I went to Vivian – the sound designer – and she found me a perfect song. As soon as I had a chance to sit down and really listen to the music I pretty much came up with the dance in my head. I’m a very visual person, so I just went in the theatre, and I played the song on repeat over and over, and I danced it myself until I had it down perfect, because I had to teach fourteen other people the dance, and they caught on really quick too. I think they learned it in about forty-five minutes

JAMES

What have you enjoyed most about the theatre program at Tarleton?

LARMIE

I personally love that we’re a smaller program. It allows us the opportunity to get involved with just about anything we want to. One minute I’m painting the set. The next minute I’m acting in a show. There’s a wide variety of things that we get to do here, and we get to feel really close to one another and to learn about one another and to rely on one another and I just like the opportunities that we’re given here.

JAMES

Sarah, you’re the stage manager and I’m not sure everybody understands how important a stage manager is. I was wondering if you could explain some of the key duties of a stage manager and illustrate it with some of the challenges of putting on this production.

SARAH ADAMS

One of the main challenges in this show is just how big the cast is. I’ve never stage managed let alone stage managed this big of a cast and so I have to make sure everyone is on time doing what they’re supposed to do and being quiet and being courteous. Making sure the actors know they’re blocking is probably one of the biggest challenges and I’m also making sure I’m giving time to every single actor and not just focusing on Scrooge or the spirits.

PRUDENCE

Since we’re a generalist program we make it a point that every person is important. Not just the person playing Scrooge. And since Sarah is the one running the show when it comes time for the actual full production we make sure all the students have a good understanding and respect for their stage manager.

SARAH

And I’m working with the designers and making sure I’m aware of what they need from me. I work with the sound designer and the lighting designer throughout the process, and I make sure everyone is comfortable with what they’re doing, and that they know exactly what they’re supposed to be doing and making sure everyone’s on the same page.

JAMES

What attracted you to this particular theatre program?

SARAH

My high school theatre teacher went here and she told me to go do my own visit and I came here and there was this beautiful atmosphere and it felt kind of like home. And everyone here is literally like a family.

JAMES

So, Cheyenne you’re the President of the Tarleton Players and I’m wondering what does that mean? What does that involve?

CHEYENNE NASH

We do a lot of fundraisers and a lot of social events, and we raise money for anything the department needs. And we also want to bring our students a little bit closer together. So, that’s the purpose of the group. And we have a group of officers with a variation of ages and a variation of focuses, and they are kind of the voice for the students, and they make the plans, and I just make them happen. So that’s kind of what I do as the President.

JAMES

Both the sound and lighting elements of a play complement the production and I’m curious as the lighting designer what are you doing with the lighting to tell the story of Scrooge and his Ghostly Spirits as he travels through his past, present, and future?

CHEYENNE

I kind of decided that my biggest challenge would be the spirits. I use the intelligent lighting and LED and colour to separate the worlds between Scrooge’s reality and the supernatural dream. And so, for the first spirit I’m using a lot of sombre colours. Yellows and oranges and white almost. And then the second spirit is vibrant reds and greens. You know, the true Christmas colours because we saw the second spirt as more like a Santa Claus kind of spirit. And for the third spirit I’m using purple, dark blues and colours that are kind of scary.

JAMES

Vivian, you are playing Mrs. Cratchit and the sound designer for the show. How are you incorporating sound in various ways to enhance the production?

VIVIAN ALONSO

There’s a lot of scary scenes like when Jacob Marley first comes or the third spirit appears and so those scenes have a lot of intricate sounds like the chains and footsteps and hellish sounds. And in underscoring the Fezziwig scene I’m using sound to enhance the cheerfulness and to keep up the holiday spirit throughout all of it.

JAMES

You’re also playing Mrs. Cratchit. I’m curious about how you prepare for the role. Have you been looking at lives in Victorian times or are you looking at it more as an emotional journey? What’s been your process?

VIVIAN

It’s been more an emotional journey at least going from her being so happy and content with her family and Tiny Tim and her children and everybody coming together for Christmas. And then the next scene that they’re in, her youngest child is gone. And it’s a huge milestone that she has to get through – holding herself together and holding her family together.

JAMES

Tiffany, you’re playing the ghost of Christmas past. The Ghost of Christmas past offers Scrooge a chance for reflection – what are the qualities you think are most important that the Ghost of Christmas past should possess?

TIFFANY WYNNE

I think all the spirits are very wise and compassionate. What I think is important about the first spirit is that it acts as more of a teacher to Scrooge, and it uses different tactics to make Scrooge come to conclusions himself, rather than directly telling him what he’s done wrong.

JAMES

Since you’re the Ghost of Christmas past I’m wondering when you look at your own Christmas Past are there some traditions or memories that make Christmas time special for you?

TIFFANY

I think what makes my Christmas most special is that my family gets together and cooks all the meals for the holidays. I don’t cook, but I do in fact, participate in that. And I just think that brings us together, and I think that’s probably one of the most important things that we do.

JAMES

Charlie, you’re playing Scrooge. How do you make Scrooge a human character and not just a miserable old miser?

CHARLIE SMITH

Well, it’s the moments that Tiffany mentioned. You know, throughout the play, he sees his own life and where it went wrong. And instead of being told, like Tiffany said, he starts to realize and starts to understand things. So, during those moments, I try to crack the ice a little bit more each time while still retaining that surliness.

JAMES

Why do you think we actually care about what happens to Scrooge? What does that indicate about us as humans?

CHARLIE

Well, it’s sort of piggybacking on what Prudence said at the beginning. We all have a Scrooge within us. A miser that wants to hold onto everything and we might all develop certain tendencies throughout our lives that we come to regret. Sometimes we find it very hard to take back those tendencies or to break out of certain habits. And so, it is good for people to see a story where someone’s so far gone and so self involved that even he can dig himself out of the hole he’s dug for himself.

JAMES

Tyler, you’re playing Bob Cratchit. What type of a man do you think Bob Cratchit is and how does his situation resonate with audiences today?

TYLER KRUMM

I think Bob Cratchit is a very simple man. He doesn’t really require much in life. He doesn’t want much in life. He has what he wants and that makes him happy – his family, his friends. And even though he doesn’t get that much through his job it’s still more than enough than what he needs to be happy. And I think audiences really resonate with that because they look and see what they have in their lives, and I think most people realize they don’t really need a whole lot to be happy.

JAMES

So, if someone was trying to decide between a couple of different theatre programs, what would you tell them about your theatre program and why they should consider it?

TYLER

It’s a program that really allows for a lot of different opportunities. No matter what it is you’re going to do. Maybe you want to be backstage doing lighting, or maybe you might think, I want to give acting a try. Well, you can do that here. It’s a small enough program that not only can you really connect with everyone, but it gives you opportunities to work with a lot of different people on a lot of different things.

JAMES

So, a final question for the group and anyone can answer. Why is theatre important? Do we still need it? What does theatre offer our communities?

PRUDENCE

With live theatre you’re sitting there making a memory that no one else can have except for you and the other audience members and the actors on stage. Theatre is one of the very last art forms in the world where it’s just you as an audience member and the people on stage and the rest of the world is gone. It’s the moment that’s happening in front of you right then and there and it can never be repeated and that makes it unique.

CHEYENNE

I think one thing that’s really beautiful about live theatre specifically is the trust between the audience and the actors on the stage. Because the audience knows it’s not real, but they trust us, and they let themselves be fully engulfed by our story and these characters. And theatre teaches you lessons even if you don’t know it, and you keep those lessons subconsciously for the rest of your life.

A Christmas Carol at Theatre Tarleton

CAST of CHARACTERS

Charlie Smith as Ebenezer Scrooge
Clay Luton as Mr. Bentley
Tyler Krumm as Bob Cratchit
Jake Wadkins as Fred
Rolan Garcia as Mr. Granger
Kaitlyn Dearth as Mrs. Harrington
Landen Harbour as a Boy
Rachel Thompson as Mrs. Dilber
Gerik Lyssy as Ghost of Jacob Marley
Tiffany Wynne as the First Spirit
Morgan Williams as the Cook
Luke Thomas as Scrooge as a young boy
JD Dovark as Scrooge as a young man
Allie Mackey as Fan
Damion Smith as Mr. Fezziwig
Nakiya Oleru as Mrs. Fezziwig
Rolan Garcia, Gabriel Leal, Clay Luton as Fezziwig’s Daughters’ Beaux
Emma Morrow, Shiann Reese, Allie Shaffer, Clara Chestnut as Fezziwig’s Daughters
Gerik Lyssy as Jacob Marley
Matalynn Thayer as Belle
Cameron Bishop as Dick Wilkens
Landen Harbour as Hugh
Mary Lou Graves as Georgia
Micaela Medina as Grace
Kyllie Avery as Tabatha
Tommy Vest as Second Spirit
Vivian Alonso as Mrs. Cratchit
Luke Thomas as Peter Cratchit
Vivan Horton as Abigail Cratchit
Erika Owen as Martha Cratchit
Elena Gracia as Tiny Tim Cratchit
Emily Turner as Emma
JD Dovark as Topper
Shiann Reese as Rose
Emily Rose as Ignorance
Micaela Medina as Greed
Gabe Escoto as Third Spirit
Gabriel Leal as First Man Businessman
Clay Luton as Second Man Businessman
Damion Smith as Mr. Newbury
JD Dovark as Old Joe
Cameron Bishop as Thomas
Emma Morrow as Caroline
Landen Harbour as Boy
Mary Lou Graves as Girl

Luke Thomas, Rolan Garcia, JD Dvorak,
Nakiya Oleru, Allie Shaffer, Shiann Reese,
Taylor Fambrough, Clara Chestnut,
Morgan Williams, and Emily Rose
as Carollers

PRODUCTION STAFF

Director – Prudence Jones
Assistant Director/Choreographer – Laramie Gambrell
Stage Manager-Sarah Adams
Assistant Stage Manager-Olivia Santisteban
Set Design- Prudence Jones
Costume Design- Riley Fischer and Carol Stavish
Lighting Design- Cheyenne Nash
Sound Design- Vivian Alonso
Hair Design- Samantha Heately
Make-up Design- Gabe Escoto
Projection Design- Sarah McGrath
Props Head – Cameron Bishop

PRODUCTION CREW

Light Board Operator – McKenzie Lucero
Sound Board Operator – Jakayla Daniels
Spotlight Operator – Phillip Skinner
Projections Operator – Robby Green
Master Electrician – Kody Lewis
Deck Manager – Turner Laxson
Run Crew – Jillian Lambert, Kody Lewis
Paint Charge – Andrea Alviar
Paint Crew – Cheyenne Nash, Allie Shaffer,
Cameron Bishop, Kyllie Avery, Mary-Lou Graves,
Laramie Gambrell, Bella Jarmon
Props Crew – Mary-Lou Graves, Mary Maturo,
McKenzie Lucero, Jillian Lambert,
Rachel Thompson, Emma Morrow
Light Crew – Kyllie Avery, Tiffany Wynne,
Jillian Lambert, Andrea Alviar, Allie Shaffer,
Emma Morrow, Cameron Bishop, Nakiya Oleru,
Sarah McGrath, Tommy Vest
Wardrobe Crew – Alicia German, Andrea Alviar,
Sam Heatley, Jake Wadkins, JD Dvorak
Makeup Crew – Bella Jarmon, Clara Chestnut
Publicity Head – Mary Maturo

Tarleton State University Theatre Program – The Theatre Program encourages creative thinking and the development of the multiple crafts of theatre through experiences in design, rehearsal, and performance. Tarleton strives to provide students with exposure to a wide variety of performance styles and historical periods, opportunities to improve self-discipline in preparation for a deadline-driven, production-oriented career, and a supportive environment where students are encouraged to try new things and learn from their failures.

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