A Christmas Carol.

A bucket list role for me that I was finally able to take on in 2023, it genuinely reinforced a belief I have always had that the story of Ebenezer Scrooge’s redemption is one of the simplest, most profound works every written. 

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One aspect of the research that made this process such a delight for me as an artist was the fact that director Alex Organ rooted the piece in truth rather than the caricature we often see in annual presentations. We delivered over fifty performances of the piece. It is easy to fall into a pattern of “phoning it in,” and I knew I had to keep the work fresh and immediate. This forced me to listen actively and intently during every performance and live this astounding experience as if it were happening for the first time. It actually surprised me just how moved I was each night as a result of just being present and allowing the story to unfold. I honestly feel this was some of the most honest, connected, spontaneous work I have done in my career.

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Another major bonus in this production was the opportunity to work on a set design by two-time Tony Award-winner Beowulf Boritt. His breathtaking set designs are truly works of art—and so very informative to the actor. They vividly transport audiences and actors to another world, in this case the Industrial Revolution, rich with Steampunk motifs. As Anne Bogart explores in Viewpoints, the evocative power of architecture is certainly a hallmark of acting on a Beowulf Boritt set. His scene designs actually elicit emotional responses.