Tag: Ken Ludwig

Murder on the Orient Express at Vertigo Theatre – Interview with Director Jovanni Sy

Posted on by James Hutchison
Murder on the Orient Express Poster for Vertigo Theatre Production
Vertigo Theatre 2022/23 Season Misery, Murder on the Orient Express, The Extractionist, Gaslight, Nevermore

Murder on the Orient Express at Vertigo Theatre is a masterful and thrilling production of the Agatha Christie classic cleverly adapted for the stage by Ken Ludwig.

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Everything is not as it seems. That statement has never been more true of a murder mystery than in Agatha Christie’s Murder on the Orient Express. Hercule Poirot finds himself surrounded by an eclectic assortment of characters including wealthy American businessman with a shady past Samuel Ratchett, the elderly Russian Princess Dragomiroff forced to live in exile, and the overbearing, loud, and life of the party Mrs. Hubbard, an American. Before the train can reach its destination, it is stopped by a snow drift in the mountains and during the night one of the passengers is murdered!

Poirot is assigned the task of investigating the murder by his friend and manager of the railroad Mousier Bouc who is also travelling on the train. There’s an abundance of clues. An abundance of suspects. And only Hercule Poirot can untangle the web of deception and decipher all the clues to figure out his most baffling and morally challenging case.

Vertigo Theatre takes you along for a thrilling, fun, and intriguing murder mystery featuring a terrific cast including Haysam Kadri as Hercule Poirot. I sat down with the director of the play Jovanni Sy who is also a playwright and actor to talk with him about Murder on the Orient Express, what makes the mystery genre so popular, and how he came to play Mr. Miyagi in the premiere of The Karate Kid – The Musical.

JAMES HUTCHISON

The murder mystery is a popular genre of fiction. So, I’m curious what do you think it is about that genre that has such a lasting appeal, and then I’m wondering specifically, why is Poirot such a popular figure? What did Agatha Christie stumble upon or deliberately design to make Poirot the much beloved and popular character that he is?

JOVANNI SY

I have a theory. I think people love mysteries because the detective is ultimately a seeker of truth. It’s solving a puzzle but it’s also trying to uncover the truth in the face of all your adversaries trying to inundate you with lies. There’s something really appealing about that, about being able to weed through all the deception, weed through all the artifice to uncover a nugget of truth.

And as for Poirot, I think people love him because he’s a showman. He’s so idiosyncratic. One of the really interesting things about the whole detective genre is that we get to know most well-known detectives on a reasonably superficial level. The story is not about their journey to get from point A to point B and learn something along the way. It really is a plot-driven genre, so people will like mysteries in as far as the mystery is compelling and good.

I don’t think Poirot would’ve been a popular detective if Christie weren’t extremely adept at constructing these wonderful puzzles for him. We know his characteristics, but they’re all rather external. They’re about his vanity or his pomposity or his strict moral code. But he doesn’t often undergo a dramatic journey the way protagonists in other genres do. It’s really about how good is he at solving the mystery.

Production Still Murder on the Orient Express at Vertigo Theatre
Mike Tan as Monsieur Bouc, Sarah Roa as Countess Andrenyi, and Haysam Kadri as Hercule Poirot in the Vertigo Theatre Production of Agatha Christie’s Murder on the Orient Express adapted for the stage by Ken Ludwig and directed by Jovanni Sy. Photo by Tim Nguyen

JAMES

In this production, you’ve assembled a stellar cast including Haysam Kadri who is portraying Poirot. What do you think are the qualities Haysam brings to his portrayal of Poirot and as the director of the play how much of that is the director’s vision and how much is the actor’s vision? How did that collaboration work on this production?

JOVANNI

What Haysam brings, other than being a superlative actor is real fierce intelligence. He’s really good at thinking through the text. I mean, I think it’s no surprise he is the artistic director of The Shakespeare Company, and you know for most interpreters of Shakespeare you really need a very rigorous sense of diction and thought. Thought and text have to be aligned and with Shakespeare it requires a real cerebral kind of technique.

And I think approaching the character ultimately, it’s him. He’s the guy doing it. I think where I help is early on in rehearsal, I felt he was doing a wonderful job right off the top, but it felt like his Poirot had a more Sherlock Holmes kind of rhythm to him. Because, you know he’s done such a wonderful job of playing Holmes where everything was super direct, and Holmes is like tunnel focused and everything is to get to the point. Poirot’s not like that.

Poirot is a hedonist. Poirot loves his rich food and his expensive wines and beautiful women. And he is a bit of a showman. In Ludwig’s text he has a lot of stuff where Poirot’s constructed something like the way a magician would present a trick – you sit there and in a second I will show you – this! And he constructs a lot of reveals in a very ostentatious almost vaudevillian kind of way.

So, we almost had to slow down Haysam’s motor. I think his own personal motor is probably more closely aligned to a Holmes-like character who is super fast, super cerebral, super to the point, and instead have him sit back and really enjoy the indulgences of a Poirot and the way he enjoys unfurling the mystery for you in a very showy manner.

JAMES

You know, it’s interesting too with Poirot being as you mentioned a hedonist that perhaps he is more in touch with the psychology and motivation of his suspects.

JOVANNI

Absolutely. I think you’re quite right. Whereas Holmes is much more evidence-driven, science-driven, and data-driven with his kind of process Poirot is about constructing the mindset of the killer. He definitely looks at a murder scene and thinks, “Is this a tidy or an untidy kind of killing? What frame of mind were the perpetrator or perpetrators in? Were they in a hurry? Were they enjoying themselves?” He really tries to pinpoint the psychological makeup and motivators for any kind of crime and match that against his range of suspects. Whereas Holmes is practically on the spectrum where he observes a lot but misses things about the way people work because he’s clinical and robotic in his approach.

Production still Murder on the Orient Express at Vertigo Theatre
Lara Schmitz as Greta Ohlsson, Haysam Kadri as Hercule Poirot, Elizabeth Stepkowski-Tarhan as Princess Dragomiroff in the Vertigo Theatre Production of Agatha Christies’s Murder on the Orient Express adapted for the stage by Ken Ludwig and directed by Jovanni Sy. Photo by Tim Nguyen

JAMES

One of the interesting things about Murder on the Orient Express is of course the setting because the play takes place on a train, and that certainly provides challenges for your set designer, Scott Reid and your actors. But it’s also fun to see on stage. Can you talk a little bit about the set design and what it was like to create that world and put the characters into it?

JOVANNI

It has its inherent challenges. Some things are really hard to circumvent as in Ratchet’s sleeping compartment must be next to Mrs. Hubbard’s on one side and Poirot’s on the other. You can’t really get around that. I think the geography of the crime is pertinent to its uncovering. So, some things are set in stone.

It’s a challenge because a train is a confined space and I think we leaned into it as much as possible. We didn’t try to do an abstract representation where a train corridor could suddenly easily accommodate the five people who needed to be in the corridor. So, you know, in that scene where they’re all passing each other, we just leaned into how even in the most luxurious train on earth you still have a problem if it gets crowded when you try to pass each other in a corridor. Or when you have nine people in a room that is literally three by five how do you stage that?

It was tricky and it takes a lot of precision so that people aren’t blocking each other. Fortunately, the sight lines are good. Scott created some really smart conventions like being able to see through the walls from the rooms to the corridor and having walls implied but not completely filled out.

Luigi Riscaldino as Michel the Conductor, Sarah Roa as Countess Andrenyi, Haysam Kadri as Hercule Poirot, Mike Tan as Monsieur Bouc the Vertigo Theatre Production of Agatha Christies’s Murder on the Orient Express adapted for the stage by Ken Ludwig and directed by Jovanni Sy. Photo by Tim Nguyen

JAMES

So, I want to talk a little bit about another iconic character because you’re also an actor and earlier this year you were in the world premiere of The Karate Kid – The Musical, and you played Mr. Miyagi, who in the original movie was played by Pat Morita. What was it like to work on that show and become part of the DNA, so to speak, of Mr. Miyagi?

JOVANNI

It was surreal is the only word I have for it. I mean, that was such an iconic movie for me. I was sixteen when it came out. And, Pat Morita, you have to understand, was like an idol to a whole generation of Asian performers, because we were so underrepresented. There were so few figures in television and film that weren’t the stereotypical background kind of guy who was a buffoon or an idiot or just inconsequential. Mr. Miyagi had power and agency and dignity and humour and pathos and Pat Morita did an incredible job. He got an Oscar nomination. So, he’s an iconic figure to so many Asian performers and artists of my generation and subsequent generations.

So, to walk into his shoes was daunting because he created a character that everybody knows – everybody loves, and the challenge was how to interpret it and make it my own and not try to just copy him because I couldn’t even if I tried. Even if I just wanted to say, “Hey, let me just crib, everything Pat Morita did.” I’m not Pat Morita. It wouldn’t work. And, in the end, what made it even more surreal was Ralph Macchio, William Zabka, and Martin Kove they all came out to see the show in St. Louis. Talk about meeting your idols. So, it was an incredible experience.

Director, Actor, Playwright Jovanni Sy

JAMES

I did read somewhere that there are plans for Broadway. Is that correct?

JOVANNI

It’s still in the works. I think if it happened it would probably happen in 2024, but you never know. It could happen. I hope it does. I would love to do that show again.

JAMES

Is that an ambition of yours to get on the Broadway stage?

JOVANNI

You know, it wasn’t. I’m pretty happy with my career in Canada. I mean it’s not an ambition in the sense of one that I would say I actively pursued. There are musical theatre specialists who move to New York, and they’re clearly working towards that trajectory. So it was, I would say more of a fantasy than an ambition. I thought about it the same way I thought it would be great to play shortstop for the Jays, you know, it’s just in the back of my mind. I took no concrete steps to get there. It just sort of happened. But would it be great to be on Broadway? Yeah.

JAMES

I understand that when this opportunity first came up you were busy with a lot of other things and you went, “Nah, I’m not going to do it.” But your wife, Leanna Brodie, had some good career advice for you.

JOVANNI

That’s absolutely true. When I got the call I was directing my thesis play at the University of Calgary. I had just started. I was at the busiest I could have been and I was also scheduled to direct a show in Winnipeg around the time that Karate Kid would’ve happened. So, I thought, you know, I already said I’d do something else, but she said, “Look your friend would understand if you got this. You could pull out of your directing commitment.” Which I ended up doing. But she told me, “If you’re going to do it, don’t just do it half-ass. Do a good job.” And I listened to her. I actually really worked on the video audition. I sent it in still thinking this is ridiculous. There’s no way. But it happened. It just happened and I almost didn’t bother submitting because I thought I’m too busy. Leona is the smartest person I know and always gives very good advice.

Daniel Chen as Victor Fung and John Ng as Tommy Lam in the Vertigo Theatre Premier of Nine Dragons by Jovanni Sy. Directed by Craig Hall. Photo by Tim Nguyen.

JAMES

You’re an actor, director, and you’re also a playwright. Your very own mystery, Nine Dragons, premiered on the Vertigo stage in 2017, which I saw, and I really liked. The story follows Chinese Detective Tommy Lam in 1920s Hong Kong, while he investigates the deaths of several women, and he finds himself battling racism and he risks losing his career, reputation, and maybe even his life. So where did the inspiration for that story come from and what does the future hold for Detective Tommy Lam?

JOVANNI

The funny thing is, I had an image of Tommy’s foil the character Victor Fung, first. I think I saw a picture of a Chinese man in a beautiful tuxedo looking very Noel Cowardesque and I thought, what an interesting man, who is he, why is he dressed like this? And I thought of a Victor Fung like character and I’ve always loved mysteries so the idea to make it noiresque and set it in 1920s Colonial Hong Kong came early.

I was working on this piece in Toronto before I moved out to Vancouver in 2012, but I ran into Craig Hall the artistic director of Vertigo Theatre at a conference in Calgary and we talked about this piece I was writing and he thought, that sounds really interesting. And Craig has his own connection to Hong Kong, and he’s been to Hong Kong a number of times. So, that’s how it started. That’s the connection to Vertigo and why it premiered there. It wouldn’t have happened without Craig.

And what’s in store for Tommy? Craig actually commissioned a prequel, which is another Tommy Lam story that takes place about thirteen years before Nine Dragons. So, we’re talking 1911, Hong Kong and I started working on it. And it may have a future at Vertigo. Jack Grinhaus the current artistic director of Vertigo Theatre and I have been talking about it but it’s early. We’ll see.

JAMES

You know, you’re writing plays and you’re creating this character have you ever thought of writing some Tommy Lam mystery novels? You could write a whole series.

JOVANNI

I haven’t. But you know I love that genre and if I were to turn to long-form fiction, I think I would go in the mystery direction.

John Ng as Tommy Lam and Duval Lang as Henderson in the Vertigo Theatre Premiere of Nine Dragons by Jovanni Sy. Directed by Craig Hall. Photo by Tim Nguyen.

JAMES

So, you not only write mystery, but you also write comedy and congratulations are in order because you recently won the Playwrights Guild of Canada Comedy Award for your play, The Tao of the World. And it’s a free adaptation of William Congreve’s Restoration comedy, The Way of the World. Your modern version takes place in Singapore, and it’s two years after a pandemic and the wealthy elite are making up for lost time by hatching schemes to bed other people’s partners and to swindle each other out of their dynastic fortunes. What’s the story behind the creation of that work?

JOVANNI

It’s really weird. I was at the UofC doing my MFA in directing and I needed to direct a thesis play. It kind of happened coincidentally because I was working on this Nine Dragons prequel which is a totally different beast and I had plans to direct this other play, a Brecht piece and then the faculty had some reservations about the viability of doing that piece so they suggested I do something else. And somebody said, “You know, we’re in the middle of COVID, we could use some laughs. Have you thought about doing a comedy?”

So, I thought, I’ve always loved Restoration comedy. I remember seeing a bunch early in my career and being a fan of a number of them. And I started looking at them and I thought about The Way of the World, but I thought at the same time, how can I take this established piece and try to reinterpret it from modern times because there’s something interesting about a new definition of restoration.

The Restoration comedies are all about the restoration of the monarchy after Cromwell. You know, the years of the Republic. So it’s the restoration of the monarchy coming in because most of the English royalists had been exiled in France. But what does restoration mean today? And to me it really meant the restoration of everyday life after we’ve been shut down.

I started working on it right in the middle of COVID when we were still working remotely, learning remotely. Masks were mandatory. Social distancing was mandatory. And so, what would it be like after COVID? Because I imagine the rich and wealthy would be just as naughty post-COVID as they were post-restoration of the monarchy, there’d be a kind of a giddy bawdiness and licentiousness.

And of course, I wanted to set it in an Asian setting because that’s what I’ve done with a lot of my works is try to recenter the experience to interpret it to a modern audience that includes Asians but doesn’t exclude everyone else. So that’s how it came about and was set in Singapore. It was almost like an experiment that just went really, really well.

JAMES

So, you know, it’s funny you mentioned needing a play and then this comes along. How much of your work do you find is just having the practical thing that you need and then inspiration strikes?

JOVANNI

That happens more often than you’d guess. I hadn’t even thought of it that way. Thank you. Wow. That’s a real, Aha! Yeah. I think it’s born of pragmatism first then the inspiration comes later. Or you know, not even inspiration. It’s like, I’ve got something to solve, so how do I solve it? I’m almost a believer that inspiration’s overrated and that if you frame creativity as a series of puzzles to be solved where you can define the parameters what you would call inspiration comes afterwards because you’ve had something active to work on.

Which is why I love writing in genre. I love the mystery genre. So, genre can actually be liberating because it sets the parameters for you and gives you something to do so you don’t have time to worry about do I have some kind of divine inspiration? You’re just trying to crack a knot, right?

JAMES

Inspiration is problem-solving.

JOVANNI

Yeah.

JAMES

We read mysteries, and we watch them on TV or at the movies, but there’s something extra fun and engaging about going to the theatre and seeing detective fiction. What makes the stage such an ideal and fun medium for experiencing a who-done-it and what sort of fun are audiences in for when they come to see your production of Murder on the Orient Express?

JOVANNI

I think first, it’s ultimately a fair test because you are literally, as an audience member, seeing everything exactly the same as the detective is seeing it. Everything that’s happening is happening in front of your eyes. There are no edits. There’s no selective choosing of things. You are solving the mystery at the same rate and with the same details that the detective has. So, it’s fair.

But the other thing is the implication that you can experience a surprise. The gasp. It’s happening right in front of your eyes – the mystery or shock, or unexpected bit of violence, or an unexpected bit of mayhem – it’s so immediate. And I think that’s why the stage is one of the best places to see mystery because it’s a visceral thing. You get that immediate connection when reading a mystery but it’s not in front of your eyes. You’re not seeing blood or a flash of light or hearing a sound that resonates to your core. So, if you’re going to see Murder on the Orient Express, you’re in for a literal ride. It’s like a train ride. You feel like you’re there on the train confined with the passengers and there’s a sense of danger and a sense of fun.

***

VERTIGO THEATRE presents Agatha Christie’s classic
MURDER ON THE ORIENT EXPRESS
Adapted for the stage by Ken Ludwig

Agatha Christie’s MURDER ON THE ORIENT EXPRESS features Haysam Kadri as Hercule Poirot, Luigi Riscaldino as Michel the Conductor/ Head Waiter, Stafford Perry as Col. Arbuthnot/Ratchett, Jesse Del Fierro as Mary Debenham, Elinor Holt as Mrs. Hubbard, Alexander Ariate as Hector MacQueen, Mike Tan as Monsieur Bouc, Elizabeth Stepkowski-Tarhan as Princess Dragomiroff, Lara Schmitz as Greta Ohlsson and Sarah Roa as Countess Andrenyi.

MURDER ON THE ORIENT EXPRESS is Directed by Jovanni Sy, Assistant Direction by Camryn Hathaway, Set & Projection Design by Scott Reid, Costume Design by April Viczko, Assistant Costume Design by Katriona Dunn, Lighting Design by Jonathan Kim, Sound Design & Original Composition by Andrew Blizzard, Assistant Lighting Design by Tauran Wood, Fight & Intimacy Direction by Brianna Johnston, Stage Management by Donna Sharpe, Ashley Rees, and Raynah Bourne.

A Christmas Carol by James Hutchison premieres at the Carriage House Theatre

Posted on by James Hutchison

I get a very special gift this year because A Christmas Carol by James Hutchison Premieres at the Carriage House Theatre in Cardston Alberta this December. Santa certainly outdid himself this year and so here’s an interview with some of the wonderful people bringing my adaptation of the famous story to life.

  • Peter Hague as Scrooge in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted by James Hutchison. Photograph by Kelsey Pankhurst
  • Darren Cahoom as the Ghost of Jacob Marley and Peter Hague as Scrooge in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph Kelsey Pankhurst.
  • Peter Hague as Scrooge, Candace Perry as the Ghost of Christmas Past, Max Bevans as Scrooge as a young boy, Blake Evans as the Headmaster. Photography by Kelsey Pankhurst.
  • Levi Mason as Fezziwig, Cassidy Duce as Belle, Brad Peterson as Young Scrooge, and Jennica Williams as Mrs. Fezziwig in the Cardston Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
  • Peter Hague as Scrooge and Candace Perry as the Ghost of Christmas Past in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
  • Production Still from The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
  • Peter Hague as Scrooge and Dominic Caravaggio as the Ghost of Christmas Future in the Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
  • Production Still from The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
  • The cast from the Carriage House Theatre production of A Christmas Carol by Charles Dickens sing a final song to the audience. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.
  • The cast of The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison. Photograph by Kelsey Pankhurst.

“But Uncle I have always thought of Christmas time as a kind, forgiving, charitable time. It is the one time of the year when men and women open their hearts and think of all people as fellow passengers to the grave, and not as another race of creatures bound on different journeys. And therefore, though it has never put a scrap of gold or silver in my pocket, I believe that it has done me good, and will do me good; and I say, God bless it!”

***

And so do I! That’s Fred talking to his Uncle Scrooge about why he values Christmas so much. Christmas continues to be a time of celebration, reconciliation and compassion. There are so many wonderful and inspiring stories to enjoy this time of year. It’s a Wonderful Life starring Jimmy Stewart and Lionel Barrymore is one of my all-time favourites. And I never miss a chance to catch The Bishop’s Wife starring Cary Grant, David Niven and Loretta Young. And of course, no Christmas would be complete without a telling of Charles Dicken’s classic tale A Christmas Carol.

When I sat down seven years ago, this very Christmas, to write my own adaption of A Christmas Carol, I discovered that I didn’t really have anything new to bring to the story, so I decided to write another play instead called What the Dickens!

What the Dickens! is a play in the tradition of Noises Off by Michael Frayn or Moon Over Buffalo by Ken Ludwig. It’s basically a play within a play and in this case it’s about the Pine Tree Player’s disastrous production of A Christmas Carol.

But as a result of working on that play I had spent a lot of time with the text of A Christmas Carol and I gained a lot of fresh insights into the story and so once I had finished What the Dickens! I was finally ready to begin writing my own adaption of the original story.

Peter Hauge who plays Scrooge in A Christmas Carol by James Hutchison Premieres
Peter Hague as Scrooge in A Christmas Carol Photograph by Kelsey Pankhurst

One of the things I wanted to do in my version of A Christmas Carol was show how Scrooge was shaped into the man he became. We all live in societies and all societies influence and shape the values and opinions of its members. So, I’ve expanded the role of Jacob Marley, which was Scrooge’s business partner and mentor, and I’ve added another business associate of Scrooge’s named Mr. Bentley in order to illustrate how Scrooge was shaped into the man he became and not alone in his disdain for Christmas.

As Fred, Scrooge’s nephew says, “There are those who see Christmas as a waste of time and energy and my Uncle Scrooge was not only a member of that tribe but in all likelihood their loudest cheerleader and most ardent supporter. He hated Christmas. He hated anything that did not make him richer and so he hated Christmas most of all.”

The production is being directed by Juliann Sommerfeltd who says that A Christmas Carol is a story about hope. “We all have Scrooge-like moments and so that makes him a relatable character whom we pity. His overnight transformation gives us hope that we can alter our own bad habits.”

“The reason I love the story so much and keep coming back to it is because I love the opportunity it shows that people have a second chance. There’s so much depression in the world that being able to realize that there is another day and that you can write on a brand-new page tomorrow and that no matter where you’ve been you can turn things around and start over is an important message.”

“Also, watching Fred’s kindness to his mean Uncle inspires hope that our own kindness can ignite change in the ones we love the most. All that, and a Christmas story as well.”

Over the year’s Scrooge has been played by an assortment of actors including Alistair Sim, George C. Scott and now here in Cardston by Peter Hague. Juliann says she chose Peter because “He has the ability to give Scrooge the edge he needs at the beginning of the play and then end the play with the audience smiling at Scrooge’s bouncing enthusiasm over his changed ways. He goes from bear to teddy bear and you just want to hug this teddy bear of a man.”

Peter says that “There’s some Scrooge in all of us and that’s why this time-honoured character is so compelling. Wealth is very important to Scrooge because he feels it brings him respect and power in his community.”

As Scrooge says to Mr. Harrington who has come to Scrooge’s office on Christmas eve asking for an extension on his loan, “You may find me cold and unfeeling sir, but I would venture to say I am a man of my word; a man whose word carries weight; a man whose word allows him the ability to strike a deal and back it up with his signature. My signature is worth something. Yours it would appear – if you continue to treat your financial obligations and business dealings in this manner – will soon be worthless.”

“Many people in this world, like Scrooge, are too self-absorbed to feel sympathy for others because they evaluate life as the world affects them instead of how they might affect the world.” says Peter. “It’s not until Scrooge sees life from the perspective of others that he has an epiphany that makes him feel that he has missed the mark. The “mark” being people, love and the relationships built in life. As audiences watch the show I hope they will consider what might be amiss in their lives and make changes that will make their lives and the lives of their fellow men more fulfilling.”

“The Carriage House Theatre,” according to Alonna Leavitt, Managing Director of the Carriage House Theatre Foundation, “is an integral part of the Cardston Community.”

Production still - A Christmas Carol by James Hutchison premieres
Michael Holthe as Dick Wilkens and Cassidy Duce as Belle in A Christmas Carol – Photograph by Kelsey Pankhurst

“For some people, it’s the place they go to see their children and grandchildren perform in the school choir concert. For some, the Carriage House Theatre is the place they take their family to attend a movie. And then many people look forward to seeing the next live theater production – whether it’s a Summer Theatre show, a Junior High production or a Community Theatre production. And for many people, the theatre becomes an extension of their home where they feel safe. They involve themselves on the stage or behind the scenes in a production role and feel satisfaction and joy from that experience.”

“When a production such as A Christmas Carol is presented – where the cast and crew are all members of the community, the community spirit and enthusiasm is exciting. The Carriage House Theatre is a happening place for a small community like Cardston. We are so fortunate and feel so blessed to have this facility in our town.”

Dr. Robert Russell says the The Carriage House Theatre is the result of a dream that started thirty years ago when he along with two other business partners bought the local Cardston movie theatre, The Mayfair, in 1990. The Mayfair was completely gutted and renovated and reopened in 1992 as a 333 seat live theatre and movie venue. Dr. Russell’s two partners dropped out early and he’s had the whole thing for the last twenty-eight years. “The theatre is here to serve people and to educate, enrich and enjoy. And when we talk about educate we’re not just talking about the mechanics of theatre production but to educate people to think and think seriously about what they’re seeing.”

A Christmas Carol by James Hutchison Premieres

“In A Christmas Carol you have Scrooge who has wealth and materialism but no spirit. And if I can – with my limited means – present a story about change and the transition to a more Christ like type of attitude maybe people will leave the theatre with some idea of incorporating away from materialism and money, in their own lives, which are the two main things that drive a secular society. That’s what A Christmas Carol is – Scrooge becomes a Christian. He transitions from a miserly old unhappy man and finds joy by extending himself and his resources to other people – which is the very premise of Christianity. To me that’s the biggest thing. My whole premise in my life has been service to other people. I was a physician and my whole attitude of being a physician was to serve my fellow man with skill and expertise to make their lives longer and better.”

Scrooge echos Dr. Russell’s premise when he says, to his nephew Fred, at the end of the play, “You’re right. Christmas is a kind, forgiving, and charitable time. A time when men and women open their hearts and think of their fellow man. A time for mercy, charity, and benevolence. And so, in the memory of your dear mother, I will honour Christmas and keep it all the year – and I say along with you, God bless it!”

And so, this Christmas, might I suggest, you gather up the family and friends and head on over to the Carriage House Theatre and catch this fresh, fun and lively adaptation of A Christmas Carol where you’ll meet Mr. Bentley, learn all about the letters Scrooge wrote to his sister Fan, and find out who Mr. Newbury is. You’ll still find all the ghosts of Christmas Past, Present, and Future along with Tiny Tim, Bob Cratchit, the Ghost of Jacob Marley, Old Fezziwig, Scrooge’s nephew Fred, and the love of Scrooge’s life, Belle. There are some new scary bits, a few good laughs, a tender moment or two and some surprises! It’s a fresh take on an old tale sure to thrill young and old alike.

The entire cast of A Christmas Carol by James Hutchison Premieres
Cast & Crew of The Carriage House Theatre Production of A Christmas Carol by Charles Dickens. Adapted for the stage by James Hutchison – Photograph by Kelsey Pankhurst

***

A CHRISTMAS CAROL BY JAMES HUTCHISON PREMIERES

CAST OF CHARACTERS

Peter Hague as Ebenezer Scrooge
Rob Crawford as Mr. Bentley
Mike Morphis as Bob Cratchit
Grant Comin as Fred
Blake Bevans as Mr. Granger and the Headmaster
Ben DeVuyst as Mr. Harrington and a Business Man
Levi Mason as Mr. Murdock and Old Fezziwig
Luke Credd as a Poor Boy and Cousin Herb
Sawyer Pawlenchuk as Mr. Newbury, Topper and Thomas
Esther Leighton as Mrs. Dilber
Darren Cahoom as Ghost of Jacob Marley
Candace Perry as the Ghost of Christmas Past, Rose and Caroline
Max Bevans as Scrooge as a young boy and Belle & Dick’s Child
Brad Peterson as Scrooge as a young man
Ellandra Leighton as Fan and Fezziwig’s Child
Jennica Williams as Mrs Fezziwig
Madisyn Bevans as Fezziwig Child and Caroler
Emma Schneider as Fezziwig Children and  Belle and Dick’s Child
Mike Devuyst as Jacob Marley and Old Joe
Cassidy Duce as Belle
Michael Holthe as Dick Wilkens and a Business Man
Jack Crawford as Belle and Dick’s Child, Ignorance and a Boy on the Street
Emma Quinton as Belle and Dick’s Child and Want
Emma Bevans as Belle and Dick’s Child
Asa Verdon as the Ghost of Christmas Present and Spirit
Marie Morphis as Mrs Cratchit
Isaac Morphis as Cratchit child and Fezziwig Orchestra
Alexi Morphis as Cratchit child and Fezziwig Orchestra
Josh Morphis as Cratchit child and Fezziwig Orchestra
Julie Anne Morphis as Cratchit child and Fezziwig Orchestra
Adam Morphis as Cratchit child and Fezziwig Orchestra
Nathan Morphis as Tiny Tim
Ashtyn Lybbert as Emma
Dominic Caravaggio as the Ghost of Christmas Future
Anica Baff as a Business Woman
Daniel Atwood as a Spirit
Synevie Wilde as a Spirit
Shelby Robson as a Spirit
Capri Powlesland as a Spirit
Vicky Powlesland as a Caroler
Mika McCarty as a Caroler
Brianne Watson as a Caroler
Savannah Hunter as a Caroler

PRODUCTION STAFF

Producer – Alonna Leavitt
Director – Juliann Sommerfeldt
Musical Director – Alonna Leavitt
Stage Managers – Samantha Atwood & Eden Atwood
Lighting Design – Jim Fletcher
Costumes – Val Jensen & Alonna Leavitt
Costume Construction – Doreen Card, Marina Leavitt, Sheila Hague, Janet Crapo, Darren Cahoon
Set Construction – Don Pierson
Set Painting – Janet Mein, Esther Leighton, Josh Creason, Paige DeVuyst, Levi Mason, Anica Baff
Box Office – Norma Reeves
Lighting Technician – Evy Schnoor
Make-up & Hair Design – Dalys Fletcher
Make-up & Hair Assistants – Kim Schneider, Tonnia Watson, Lacey Quinton, Teagan Perry, Ivy Schnoor, Katia Van Dysse, Beth Holthe, Krystin Bevans, Emma DeVuyst
House Manager – Debbie Fletcher

The Carriage House Theatre: The Carriage House Theatre has been providing the town of Cardston and Southern Alberta with live family-oriented entertainment for more than twenty-five years. The Theatre produces a regular season of plays as well as its popular summer musical festival while providing opportunities for talented local youth to participate in live theatre productions.

The Alberta Playwrights Network:  The Alberta Playwrights’ Network exists to nurture Alberta playwrights and provide support for the development of their plays. APN promotes Alberta playwrights and plays to the theatre community, while building and fostering a network of playwrights through education, advocacy and outreach. A Christmas Carol was partly developed and workshopped through the Alberta Playwrights Network Wordshed Program in 2015 with the participation of Trevor Rueger, Laura Parken, Roberta Mauer-Phillips and Julie Orton.

  • Interviews have been edited and condensed for clarity.
  • Background information for this post included the article, Yesterday Once More, by James Frey in the summer 2005 edition of Lethbridge Living magazine.
Link to A Christmas Carol by James Hutchison

Link to What the Dickens by James Hutchison