The transition language is quite similar, and maybe I didn’t quite have it down just yet: Dinner all around on three sides, and we’d just finished with the Ghost of Christmas Past. Picture a raised platform in a large conference room, wider by far than it was deep. Some weren't-but some of the bankers were a bit tipsy, and for a Christmas party, this longer version (which we weren’t sure would work), was all a bit much.īut it's the nearly disastrous transition Cynde never lets me forget. I don’t know if the character exists without that coat.

(Much of the story centers on what he can-and cannot-see.) In fact, apart from a couple of experimental years it’s been the same pair of glasses and has always been the same outer-coat: it was donated by Trustee Rita Mattia.). I was panicky- forgetting the ever-present, and ever-vital, “Scrooge glasses” in the dressing room. It was a longer show then admittedly we were still working out the kinks. In 1998, the first year of this two-actor adaptation, Cynde and I opened the show for a rural bank Christmas party in far southwest Virginia. Many of you know I began performing the story as a solo show for family and friends in 1996. I think they partly love watching the reaction of newbies, and the return to a familiar piece- yielding new insights every year-that makes the trip worthwhile. The veterans always amaze me by now they know the piece almost as well as we. Performing this story of an old miser presented with a last chance at reclamation every year has certainly been a labor of love, and it’s thrilling to see veterans and “newbies” in the audience. At Richmond Shakespeare, we’ve loved theatre of the imagination, storytelling, and the craft and profession of acting. Three posts are in order on fourteen (14) years of history with A Christmas Carol for Two Actors.

Shakespeer facebook