If there鈥檚 one discovery Michael Shamata and Amanda Lisman have shared since they first collaborated on A Christmas Carol, it鈥檚 that what the Charles Dickens classic has to say remains relevant.
鈥淭he social ills Dickens was addressing when he wrote the book [in 1843] are still present, as well as the beauty of life, which he celebrates, and the romantic notion of being able to change your life,鈥� Shamata said.
The Belfry Theatre鈥檚 artistic director was taking five, relaxing on a bright-green sectional sofa in the Fernwood theatre鈥檚 tastefully upgraded lobby the day before its Christmas show鈥檚 opening night.
Meanwhile, Tom McBeath, returning for his third year as Ebenezer Scrooge, and other members of a cast that includes Gerry Mackay as Jacob Marley and Brian Linds as Mr. Fezziwig performed select scenes.
鈥淭he piece is totally relevant to today, with capitalism, greed and poverty, and the need to make sure all children receive an education, because if you don鈥檛, the wheels of poverty just kind of continue,鈥� Shamata said.
The production that ends Dec.聽17 marks the third consecutive year Shamata has helmed A聽Christmas Carol here, and the16th time he has directed productions of it, his first starring Canadian acting legend Douglas Campbell.
鈥淭here鈥檚 something about the story that is incredibly beautiful, the need to just be present in the world. Like the ghost of Christmas past keeps saying, 鈥楲ook. See the beauty around you. See the need around you.鈥欌��
Indeed, judging by the action onstage, where McBeath, whose dark coat, mutton-chops and commanding presence conjures memories of Christmases past, beauty appears as integral as drama to the staging of this Victorian-era classic.
The production鈥檚 atmospheric lighting, magnificent set and the spectacle of elaborately costumed professional performers reviving this Dickensian story is a sight to behold.
Lisman, playing Belle for the third time, says she couldn鈥檛 resist the opportunity to play Scrooge鈥檚 disenchanted former fianc茅e again in her hometown, where she got her start in acting.
She said she finds that the material resonates more each time she does it, not just personally, but 鈥渋n the way the world is turning鈥� in 2017.
鈥淚n these divisive, individualistic, capitalistic times, I love being a part of this story of joyful transformation,鈥� she said. 鈥淚t reminds us of the need for charity, altruism and the importance of thinking of others.鈥�
The Toronto-based Lisman has become an increasingly familiar face on screen these days, with notable credits including her guest-starring role as Jill Miller on USA Network鈥檚 hit legal drama Suits.
鈥淚 had no idea how popular Suits was until I became a part of it,鈥� said Lisman, who also recently filmed episodes of CW鈥檚 iZombie, NBC鈥檚 action series Taken and Jerry O鈥機onnell鈥檚 new detective drama series Carter.
Lisman, whose local stage credits include starring roles in Blue Bridge Repertory Theatre鈥檚 Private Lives and My Fair Lady, is also focusing more on doing stage plays nationally.
Her credits include three seasons at the Stratford Festival and, more recently, roles in Noises Off and What鈥檚 In a Name? at Montreal鈥檚 Segal Centre for Performing Arts, as well as her recurring Colgate commercials.
鈥淚鈥檝e been in this profession 10聽years, and you build a resum茅 with Shakespeare and classical theatre and, of course, everyone goes: 鈥榊ou made it! You did a Colgate commercial!鈥� 鈥� she said.
Stage manager Sara Robb says that with a cast of 14, including four children, 鈥渨hich adds something awesome to the mix,鈥� this is a big show for the Belfry.
鈥淲e have a child wrangler to make sure the children are safe, and it takes a bit of pressure off the stage-management team to make they鈥檙e in their spots and ready to go,鈥� she said.
鈥淲e want to make sure they鈥檙e well taken care of and that it鈥檚 a good experience for their families, because you never want to make a child jaded.鈥�
Indeed, A Christmas Carol keeps the stage crew on its toes, adds assistant stage manager Christopher Sibbald.
鈥淭here are a number of large props and people and bodies moving towards costume changes 鈥� big set and prop pieces and large prop tables backstage, big pieces of furniture and just a lot of bodies in a small space,鈥� he said. 鈥淔or us, it鈥檚 all about traffic [control] backstage.鈥�
Adds apprentice stage manager Becca Jorgensen with a laugh: 鈥淪ome days I felt like I was drowning in crinolines and petticoats.鈥�
