Thanks to the enthusiasm of a teacher and student, and the support of the author of the original book, the play “Jacob T. Marley” was produced for the stage by the Iron Door Arts and Theater in Malad.  The story of how the play came about, and the thoughts of book author William Bennett and Script Adaptor Kylee Elizabeth Francom, can be found on the facing page.  The story is a pretty amazing one, and certainly a testament to how persistence and belief can sometimes move mountains! 

The Narrators were a way to bring the book to the stage

The performance itself is one of those rare times when there really isn’t a precedent to follow or use as a point of reference.  As Francom (who uses the pen name Kylee Elizabeth, though we will refer to her by Francom here for clarity) and Bennett explain in their remarks, there were a number of changes from the original book as well as the homeschool production.

While we were not able to catch teacher and writer Melissa Draper in time for this week’s issue, we were able to speak with Francom (Malad native and cast member of the play) and author Bennett (who lives in Alpine, Utah), because all three were at the premiere on Friday of last week.  Authors have attended performances of their material in the past, but this certainly represents an impressive showing for the opening night!  

A terrified Scrooge meets his old friend Marley

Perhaps in step with the special nature of the performance, the production itself was a very well-executed affair, with a large cast, impressive staging, great costumes, sound, and lights, and most important of all, an excellent cast and directing team.  

Because there were few models to follow as far as the production went, it took a lot of effort and energy to see the vision to completion.  The directing team was made of Catie Fesler, Cecilia Hess, and Terry Wangberg.  Jeni Sperry was the set designer, Shannon Worrell was the costume designer, and Ada Campbell was the prop mistress.  Lights and sound were run by Jeff Richins, Bridger deJong, and Matt Shulz.  The Backstage crew included Conner Worrell and Jayson Spencer. 

 The visual design of the play was minimalistic, but efficiently evocative of the familiar cold Victorian era tableaux that even “A Muppet Christmas Carol” invokes.  The numerous crowded scenes were well-handled, with suggestions of things like wagons and sitting rooms effortlessly pulled off.  While unassuming in appearance, the two-plane spatial environment of the “death bed” was especially effective as rending the time and place familiar to all readers, and (and even more likely) viewers of the story.    

Jaden Hansen (Ebeneezer Scrooge) and Roland Amendola (Jacob Marley) were simply outstanding in their depictions of the main characters, with Hansen affecting a perfect scowl and Amendola conveying a depth of emotion that was impressive to witness.  Jade Charles as the guiding spirit had a wonderfully assured presence as essentially a conduit to the audience, explaining the situation and mobilizing the action.  Shannon Worrell and Ada Campbell provided overall narration to the story as extra-diegetic (outside the story) figures.  

Things like wagons were represented skillfully

The Ghost of Future is always a highlight

The entire cast was fantastic, and included a lot of highlights.  The rest of the cast included Rogie Fesler (Tiny Tim), Saoirse Fesler (Want), Sofia Hess (Great Niece Fan), Trinity Christopherson (Clerk), Zaira Hamilton (3rd Businesswoman), Frank Fesler, Jersyn Shulz, Hyrum Spencer, Zach Ward, Maddox Wray (School Boys), Kylee Francom (Mrs. Higbee), Ava Fesler (Carriage Driver), London Hess (Priest), Dempsey Firth (Ghost of Christmas Past), Jarick Crossley (Ghost of Christmas Present), Ashley Ward (Ghost of Christmas Future), Alex White (Bob Crachit), Aneesa Fernandez, Ashley Ward, Ava Fesler, Cara Bott, Christine Ward, Hyrum Spencer, Jersyn Shulz, Karmyn Charles, Kassidy Martin, Kayla Wilson, Levi Balazs, London Hess, Lyla Reel, Madison Alvarez, Maverick Lewis, Nolan Briscoe, and Phoebe Firth.