A CHRISTMAS CAROL at the Goodman Theatre: Classy Holiday Magic, Courtesy of Three Stars

One of the nation's most prominent of the many productions of "A Christmas Carol" that crop up like greenery this time of year is the one at Chicago's Goodman Theatre. Now in its 35th annual outing, it's a warm, thought-provoking and timeless tale of redemption and good will, humanity and universality that, surprisingly , shares with Jonathan Larson's "Rent" an immediate central theme. "No day but today" might very well be a line from Charles Dickens' short 1843 novel of the same name, as pithy and wise as the novel's, and this show's, ending line: "God bless us, everyone."

Popular as a Stage Entertainment from the very beginning, and never out of favor, spawning movies, parodies and a costume look that holiday singers are practically forced to utilize, it's a peculiarity of this title that theaters in the United States do not perform just one adaptation of the book. Many theaters have one of their own scriptwriters adapt a version to their tastes, capabilities and desires. So it went at the Goodman, when their early stagings of the story each holiday season (beginning in 1978) prompted dramaturge Tom Creamer to craft the 1989 script still in use. But, like everywhere else, the Goodman is not producing "'A Christmas Carol' by Tom Creamer, based on the novel by Charles Dickens." No, it's "Charles Dickens' 'A Christmas Carol," adapted by Tom Creamer." Such is star author power!

But no matter. The Goodman is also in possession of formidable star actor power in the form of Larry Yando, the remarkable Chicago stage star who is turning in quite a legendary performance here as Ebenezer Scrooge. Surely an exhausting performance (does he ever leave the stage?), Yando's Scrooge is as mean and pitiful an old miser as you have ever seen, and yet hilarious as well. The gradual unthawing of his heart (not unlike a newer holiday star, the Grinch) is entirely believable here, and his regret and horror at his former self are Shakespearean, if not Greek, in their size and import. In the final scenes, he is giddy and delightful, yet still recognizable as the same man. One is led to believe that Scrooge will indeed spend the rest of his mortal days being kind, thoughtful and generous, but with just a tinge of regret that he couldn't do more, and sooner. Yando cannot be missed in this role.

Almost as impressive a star, but with far less stage time, is Penelope Walker as the Ghost of Christmas Present. Featured in almost as much Goodman advertising as Yando, it's with good reason. Walker is radiant in her red hoop skirt, delirious as she tosses glitter about like so much Halloween candy, and she speaks with tones of deep import as well as motherly welcome. Though she only appears in the first half of Act II, one wishes for more of her. Brava!

Ron Raines, as Scrooge's employee Bob Cratchit, is a noble and dear man, one who seems to be pulling himself up from blue collar roots to bean-counter respectability by sheer force of light-hearted, polite and patient will. Demetrios Troy's Fred, Scrooge's nephew and only living relative, is a handsome, strong presence, noble as well in his perseverance against impossible odds. And his realistic question on Christmas morning, "Uncle, what are you doing here?," prompted a moment of emotion I didn't see coming, as Yando brought tears to his own eyes, and to mine, with the simple stammer, "I came… I came…." I'm tearing up right now as I remember the moment.

Speaking of Christmas morning, I also enjoyed the Turkey Boy of young Oscar Vasquez, who is hilarious and possesses comic timing far beyond his years. In Act I, Elizabeth Ledo is a gamine, Peter Pan-like presence as the Ghost of Christmas Past (with an assist in flying by ZFX, Inc. and with her filtered speaking voice by Richard Woodbury's sound design). Joe Foust is a bumbly yet threatening Ghost of Jacob Marley, and Jordan Brown and Nora Fiffer make an attractive, compelling and complex couple out of Scrooge as a Young Man and his fiancée, Belle. Again, more stage time would have been wonderful, but there's a family-friendly legend to be told! I'm pretty sure the show isn't for the very young, but schoolkids that are warned to pay close attention, in the event that some ghosts show up, will have a magical theatrical time.

Paul W. Thompson, a contributor to BroadwayWorld.com since 2007, is a Chicago-based singer, actor, musical director, pianist, vocal coach, composer and commentator. His career as a performer, teacher and writer is centered at Paul W. Thompson Music, located in Chicago’s historic Fine Arts Building, where he teaches the great songs of Broadway to the next generation of musical theater performers. A native of Nashville, Tennessee, Paul was raised in a family of professional musicians and teachers, steeped in classical, gospel, country, pop, sacred and show music. Dubbed a “thin, winsome lad” at the age of 13 by a critic for the Nashville Banner, he earned two degrees in musical theater (a B.F.A. with Honors from Baylor University and an M.M. from the University of Miami, Florida), plus an M.B.A. with Distinction from DePaul University. Paul’s memberships include Actors’ Equity Association, the American Guild of Musical Artists, the National Academy of Recording Arts and Sciences (proud voter for the Grammy Awards!), the National Association of Teachers of Singing and New York’s Drama League. Moving easily between the worlds of classical music, religious music, classic pop and musical theater, Paul has appeared onstage or in the orchestra pit in concerts, musicals, operettas and operas in 30 states and in Europe, in a career spanning more than 35 years. His Chicagoland stage credits include “Forever Plaid” at the Royal George Theater and twenty mainstage productions at Light Opera Works. Paul joined the Chicago Symphony Chorus in 1995 (he was Tenor I Section Leader for four years and sings on two Grammy-winning recordings), and is one of Chicago’s foremost liturgical singers, marking 20 years as a member of the choir at St. James Cathedral (Episcopal) in 2011.He has composed and arranged a number of anthems, hymns and songs for worship and concert use, and collaborates on the creation of new works of musical theater. Paul can be found on Monday nights watching showtune videos at the world-famous Sidetrack nightclub, the inspiration for his weekly column, “The Showtune Mosh Pit.” His proudest achievement is that he has seen the original Broadway production of every Tony Award-winning Best Musical since “Cats.” No, really. Since “Cats!”

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