Upon its first publication in 1843, Dickens' A Christmas Carol became an instant hit. Since then, it has become the most popular and beloved story in English literature. In the early years of our century, the allegorical novella spawned a dozen silent films. The advent of sound brought nearly 150 audiovisual versions. Starting in 1934, it was a family tradition for two decades to listen to Lionel Barrymore portray Ebenezer Scrooge annually on CBS radio. The work has been turned into countless straight stage adaptations, musicals, parodies, and animated cartoons - a parade that shows no signs of waning. Already in February of 1844, three different stage adaptations premiered in London on the same night.
Over the years, the central role of the stingy curmudgeon who undergoes spiritual redemption has attracted the talents of many celebrated actors - among them Seymour Hicks, Reginald Owen, Ralph Richardson, Fredric March, Alastair Sim, Alec Guinness, Basil Rathbone, Cyril Ritchard, Albert Finney, Michael Hordern, George C. Scott, Anthony Newley, and currently Frank Langella. These versions naturally present their characters' dialogue. But they miss the wonderful descriptive narrative that Dickens wove around all the talk.
Always drawn to acting, the author started giving dramatic readings of the Carol in 1853, trimming the text judiciously but mixing narration and dialogue. He gave 127 performances of the work during a career that ended prematurely with his death at 58. In the past decade, Patrick Stewart has had great success in solo performances of the Carol.
Four years ago another British actor began touring the work in the U.S. - none other than the author's great-great-grandson, the 37-year-old Gerald Charles Dickens. This season, his tour began on Nov. 9 in South Carolina and ends in Minnesota on Dec. 23. What makes his three Boston performances especially significant is that they take place in Tremont Temple (formerly Tremont Theater), the very venue in which his ancestor first performed the work in America for several weeks in December 1867.
The author would remain fixed in center stage, though he was a master at varying his voice for the many characters. His descendant, who started acting at age nine, has made his presentation much more theatrical. There is a desk, a lamp, a couple of chairs, a stool, and a hat rack. A walking stick turns into Tiny Tim's crutch when needed. The younger Dickens moves about a good deal, even racing down into the audience on two occasions. He has a highly versatile voice, fully capable of switching among more than two dozen characters, often at the same time changing direction on a dime. He adopts a brisk pace that keeps one constantly engaged. This is, in short, a virtuoso display of histrionic talent.
In conjunction with the actor's visit, Boston University's Mugar Library has mounted a special Dickens exhibition that includes a rare first edition of the Carol. While in town, the author's descendent went to view the show, which continues through Dec. 31. Gerald Charles Dickens brings honor (I guess I should say honour) to his illustrious heritage.
