Review: Scrooge’s Christmas, an operatic re-imagining performed by New Opera Lyra

This article was written for and published by Apt613.com on December 11, 2023. You can find a link to the article here.

——

Bah, humbug!

Scrooge’s Christmas by New Opera Lyra delivered on its promise of merriment and laughter, both for longtime Dickens fans and those new to A Christmas Carol. I’d never read the classic tale to my children, but my seven-year-old loved the show—her first opera. From start to finish, she alternated between demanding to know if the performance was “real” and exclaiming that it couldn’t be, shaking her head at the titular character and giggling at his antics. She was entranced.

After the show, I caught up with Gary Dahl, who made a formidable Ebenezer Scrooge with his rich baritone.

“I think what’s really key about opera is that once it starts there’s not a moment where you get out of the line of sound,” Dahl said. “With talking, you have spaces, but with singing and orchestra—in this case, piano—it just keeps everybody locked in. Sung words are just more intense.”

Scrooge’s Christmas opened with a delightful choral rendition of “Here We Come a Wassailing”, while Scrooge scowled and growled from his “dreary chamber.” Bob Cratchit, sung by Corey Arnold, defended the chorus to no avail. Scrooge then humbugged his way through Cratchit’s request to not work Christmas and his invitation that Scrooge join the Cratchit family’s celebration.

“Everybody recognizes the possibility of living that sort of narrow life,” Dahl said, explaining the timeless appeal of the story. “Scrooge can’t even enjoy fine food and friends because he’s so focused… We see that and sometimes we feel closed off from people just like Scrooge, you know, set apart, and we’re focused on our thing. So, people relate to him.”

Naturally, when Cratchit left the stage and things quieted down, the ghost of Marley, sung by Ian MacPherson, appeared, rattling his chains. My daughter assured me she was “not scared at all,” belly-laughing along with the Spirit of Christmas Present, sung by Adam Sperry, who set the audience to salivating with a song about roast beef and figgy pudding while an unimpressed Scrooge watched on.

“He’s funny because he’s so ridiculous,” Dahl said of Ebenezer Scrooge, adding that the show’s composer and pianist, Andrew Ager, is adept at making a story and its characters relatable. “There’s always something really delightful happening for a single when Andrew’s writing. He catches things in a very brief and concise way. He knows how to set a melody that people latch onto. He’s really trying to make an entertainment that’s accessible.”

After the turn, Scrooge joined the festivities with the Cratchit family and company, sharing his wealth and his voice with the group. My daughter loved that everyone was enjoying the moment together.

It was short. It was sweet. It was fun and funny.

Dahl wants Ottawa folks to have more experiences like my family’s.

“Keep coming out to events so that people—composers, singers, players—are encouraged to put things together for people. I know everybody’s struggling to get audiences. COVID has really taken a kick into people’s adventurous spirit—and rightly so—but come out and see stuff. Turn off the TV.”

What are you waiting for, Ottawa? Get to the opera!

New Opera Lyra will perform Andrew Ager’s operatic world premiere of The Great Gatsby in April 2024. Get your tickets and find out more here.

Photo: Scrooge’s Christmas by New Opera Lyra.
Photo credit: New Opera Lyra