**Review: 'A Christmas Carol' at the Kodak Theatre

Rumors have been swirling about the star-studded production of "A Christmas Carol," now playing through Jan. 4 at the Kodak Theatre. Citing a bronchial infection, Jane Seymour abruptly left the cast. Gene Wilder, who was slated to play Marley’s Ghost on hologram, also evanesced from the show as surely as Marley’s troubled spirit from Scrooge’s chambers (the producers declared Wilder’s high-tech performance "would not be effective in the production.")

Despite the absence of Wilder and Seymour, there’s still plenty of star power to be found in "Carol." Christopher Lloyd carries on as Scrooge, John Goodman hangs in there as the Ghost of Christmas Present, while Jane Leeves, perhaps best known for her long stint on the sitcom "Frasier," perseveres as Mrs. Cratchit.

The last-minute defections hint, correctly, at deeper problems in the production. Various blogs, including our Culture Monster, have had a field day detailing the disasters dogging Monday night’s preview, which reportedly had more technical problems than a church pageant in a power outage.

By the time the show officially opened on Tuesday night, many of the previous glitches from that reportedly disastrous preview had apparently been ironed out. But the production is still haunted by more than its share of mischievous spirits. Lights failed to go up, although certain actors invariably did. Prematurely interrupted in their rounds, abashed stagehands could be seen dashing off into the wings after the thunderously elaborate scene changes. And an overly prolific fog machine, meant as a spooky effect, completely obscured Marley (Barry Cutler, intrepidly battling the murk).

To his credit, adapter/director Kevin Von Feldt has opted for a refreshingly straightforward retelling of Dickens’ redemptive Christmas classic. But Feldt’s staging is an odd blend of professional expertise and amateurish fumbling. Not that the attempt isn’t intermittently impressive, as are all the elements, from behind the scenes to before the footlights. Still, the show has a half-baked feel, as if its promulgators had simply run out of time to fulfill their wildly ambitious aims.

With the exception of Nancy Dutmer’s handsome costumes, the technical team’s contributions are problematic. One suspects that, given a bit more polish in the execution, David Neville’s lighting and Julie Ferrin’s sound will serve the production nicely. Not so Jeff Hile’s sets. Abetted by design consultant Brian Ryman and "scenic drop artist" Jaroslav Gebr, Hile has constructed an elaborate Victorian milieu that is as much a detriment as it is an asset. There are, after all, those endless and interruptive scene changes. Then there’s the juxtaposition of scrupulously representational sets with certain crudely sketched backdrops -- a striking disconnect in style that, again, signals a time crunch.

With a little delving, there are treasures to be unearthed here. Goodman is a bombastic and authoritative presence who gives a real boost at the top of the second act. A spirit who loves his spirits, he nips sly sips from his Christmas torch, which doubles as a sort of goblet, a genuinely clever touch. Leeves is truly affecting as the scrappy Mrs. Cratchit, who faces immeasurable loss with valiant cheer.

As for Lloyd, he has a great look, convincing cadaverousness, and crystal stage diction -- in short, everything required for an ideal Scrooge. Except his lines. Considering the sheer familiarity of the material, Lloyd’s frequent lapses are particularly painful. Imagine Hamlet ad-libbing "To be or not to be," and you’ll get the drift.

That’s a shame, because in spite of his shakiness, Lloyd is a crowd pleaser who garners a rousing ovation at the curtain. There’s always the chance his Scrooge will smooth out over the run. At present, though, this "Carol" brings to mind the prize turkey, as big as a boy, that Scrooge buys for the Cratchits. That turkey now hangs in state at the Kodak. Sadly, fancy trimmings aside, it’s gone a bit off. God help us, every one.

-- F. Kathleen Foley

"A Christmas Carol," Kodak Theatre, 6801 Hollywood Blvd., Hollywood. Dec. 26-27, 3 and 7:30 p.m., Dec. 28, 3 p.m.; Dec. 30, 7:30 p.m., Dec. 31 and Jan. 1, 3 p.m.; Jan. 2, 7:30 p.m.; Jan. 3, 3 and 7:30 p.m. Closing performance Jan. 4, 3 p.m. $28-$79.50. (213) 480-3232. Running time: 2 hours.

**UPDATE: As it turns out, producer Kevin Von Feldt is haunted by his own ghost of "A Christmas Carol" past -- and it's no hologram. Read the story here.

From top: Christopher Lloyd as Scrooge, John Goodman as the Ghost of Christmas Present and Jane Leeves as Mrs. Cratchit in the production of "A Christmas Carol" at the Kodak Theatre. Credit: Irfan Khan/Los Angeles Times.

Comments

[Jack in M.B.]

If there were an award for "Worst Play of 2008", this would be it. High school productions are way better than this. It was an atrocious opening night from top to bottom. Jane Seymour knew what she was doing when she opted out. Kevin Von Felt and his producers should be ashamed to pass this off as professional entertainment in Los Angeles. Maybe even in Omaha. What are they thinking?Considering we're in a recession, it's doubly shameful...especially at these prices. Very painful to watch. Simply put, it was horrific! Kathleen Foley, you're being way too kind and way too gracious when you call this abomination 'a turkey'!

[Mike Clark]

Do the producers of "A Christmas Carol" believe that anyone in the audience would have been satisfied with a hologram of Gene Wilder? The advertisements and program listed "a special appearance by Gene Wilder" which usually means that said performer's part will be small but IN PERSON.

Even with a very strong and starry cast, my purchase of tickets was made on the belief that a rare appearance by Mr. Wilder was what made the expense worth it.

The guilds that represent theater actors should be up in arms over this egregious form of billing which will serve as a warning to future ticket buyers: Make sure the star you want to see in a live production will actually be there and not on videotape.

Mike Clark
Los Angeles

[Tara]

I was there opening night and there were many mistakes as noted here and in other blog posts (mine included), but I couldn't fault the acting performances for the bad showing, but more the scene changes or lack there of since in many cases they just didn't happen. I was embarrassed for the actors. I really enjoyed the classic telling and especially Lloyd as Scrooge--didn't notice any "lapses"

[Sarah]

I agree. Opening night was painful to sit through. And as for questions about the theatre Guild that represents actors. The union is Actors Equity and after holding auditions and hiring actors, they called the actors (not the names) a few days before rehearsals started and backed out saying they didn't have the money. They then hired non union actors a day or two before rehearsals started.
I was upset to see that this production spent A LOT of money on other things but not the actors (which at this point is really the only reason to see the play). Shameful!

[Donna]

The Kodak Theatre is a union house meaning...the backstage crew is union, the sound crew is union, the dressers are union, the stage managers are union and all the actors are members of Actors Equity Association- the union for stage actors.

Perhaps "Sarah" should read the actor's bio's in the program (many union productions and theatres are sited) or perhaps learn about the AEA 'production' contract before she posts false information online. "Sarah" can learn all about union theatre contracts and regulations regarding cast and stage managers at www.actorsequity.org or even visit the west coast AEA office at 6755 Hollywood Blvd, 5th floor. Thank you for supporting the theatre "Sarah."

[Kevin Von Feldt]

I adapted, produced and directed the Kodak Christmas Carol production. I felt the review by F. Kathleen Foley was a fair and accurate assessment of the production. A comment here stated that the production was non-union. That is not true....it is an Equity production. A loss of investment money, which has become more and more difficult to find in current times, forced the production to either cancel or seek additional financing at the last moment. Our financing was secured on Tuesday, December 16th, a week from opening. Against impossible odds, I chose to proceed rather than give up. It was a tough call.
The last minute financing questions caused the Kodak to book an isolated event on Saturday, December 20th that prevented us from rehearsing on the Kodak stage. With only five days of rehearsal and one day on the stage at the Kodak (Dec. 22nd, the day of the opening) we limped through the first performance Monday night, a remarkable achievement by the cast and crew. As expected, the show has improved each day. Monday night attendees would not recognize the current production. In fact, we are allowing any ticket buyer for the 1st two performances (22Dec/7:30 & 23Dec/3PM) to see the show again at no charge. I hope ticket-buyers will take advantage of this invitation available at the Kodak box office. The reception this show receives from current audiences is rousingly enthusiastic. No show in history with name talent, a major venue, thirty-two scene changes and a cast of twenty-three has attempted to open with only five days of rehearsal. It simply can't be done...lesson learned. But current audiences are benefiting from our decision to press on.

Kevin Von Feldt
Adapor/Producer/Director
Kodak Christmas Carol

[Kelly]

Thank you F. Kathleen Foley for the review and thank you Kevin for the above comment.

I only recently learned about the production and was doing some research on the show before i bought my tickets. i will say the reviews may have steered me away, in fact I was tucking my credit card back into my wallet but something inspired me to read the comments to this post. And I am glad I did because after reading your comment i am excited to see the show and support your hardworking team.

Look forward to it!

Kelly

[Lance]

First, deceiving the public by stating "special appearance by Gene Wilder" when you'd planned to use a hologram is appalling. Next and finally, the absolutely grotesque and amateurish production is something you, Kevin, should be ashamed of. Shameful. Poor acting, staging, and technical elements. I don't give a crap how many days you had, this purports to be a professional production. Make it work. But with absolutely no cohesive artistic vision, how could it work? Stay away from the theatre, sir. Far away.

[Norm]

Wow...I have to disagree with Mr. Von Feldt's assessment...I saw the show this eve and it was an abomination...all but for Jane Leeves and the wonderful actor portraying Bob Cratchit, the remainder of the cast phoned it in...the sets and changes were clunky and amateurish...the sound was overpowering for the performance space...the performance itself was lifeless, given the star power it possessed...I guess I do agree with Mr. Van Feldt in that a show of this scope can not be done on only five days of rehearsal...a professional union show should look and feel professional. Nothing about this show did...Bah, humbug!

[Norm]

Kelly...you'll be sorry!

[Tammy]

I saw the play Christmas eve and while it didn't have the polished production it could/should have, I think a lot of the language here is a bit overboard and out of line. An abomonation? Grotesque? Come on everyone, get a grip. Heck, I found the audience more distrubing than the play, what with all of the whispering and crackling of cellophane as the woman next to me gorged on snacks.
It's true, the set design did seem incomplete, especially when you juxtapose some of the beautiful design with a couple of scenes done with a simple curtain...too much of a departure, and again, not what it could have been. But was it worthy of some of the harsh language here ? I think not.
Lloyd was a pleasure as Scrooge. Leeves was lovely as well. Subpar production value aside, this was still a pleasure to see. This was my son's first play and he hasn't stopped talking about it. That alone made it money well spent.

[Cassie]

My husband and I absolutely loved the play! Because there were not a lot of attenders, we were moved to Row A in the Orchestra section! I couldn't believe it! Christopher Lloyd and John Goodman passed by our seats during the performance...they were less than a foot from us! I LOVED the acting...and the staging was fine...What are you people complaining about...I feel so lucky that we got to see this performance...

[Gene]

The play was great...fog machine was a little much, if you've got breathing problems don't sit close to the front! But seriously, we had a great time.

[Pauls]

I think everyone who has seen this production would agree that it was over ambitious to mount a thirty-two set change production from scratch in five days. Many of the scenes could have taken place with minimal sets or no sets at all. A revolving set, a cornerstone in most major theaters in Europe, would have solved most of the problems, but sadly most theaters in the U.S. don't use them. The performances are worth the price of the ticket, and I would like to thank those responsible for inviting us back for another view. I look forward to seeing it again.

[Gloria Watts]

We attended this production last night and it was technically very smooth,and featured several stand out performances. Jane Leeves was spirited and so warmly sincere that she captured the true mood of a Dickens young woman. Barry Cutler was the most interesting Joe I have seen. He brought so many levels to that character, humor, pathos, a sneering kind of sinister villain while maintaing a style of Dickens come alive. I loved seeing both John Goodman & Christopher lLloyd in roles unusual for them and enjoyed their fun with them.
I hope to see Cutler more on the LA stage, what a talent!!

[timothy sellers]

hey there everybody. my name is timothy sellers, and i was the lead painter for this production. it appears that i will not be paid for my work! yeah, the thing was a fiasco. but kevin von feldt and whoever else is in charge has apparently skipped town WITHOUT PAYING ANY OF THE PAINTERS for their work! seven of us worked very hard to make this thing at least look presentable at the last minute. i gather that they paid the carpenters half what they were promised.

i know, i should join the union. but i have painted sets for theaters all over southern california, including the geffen, the colony, rancho cucamonga, fullerton civic light opera, lo mirada, the terrace theater, and too many others to mention. NEVER HAVE I BEEN RIPPED OFF AS MUCH AS $2100. and how about the, er, poetry of not paying set painters to work on the christmas carol?

i've talked to my only contact from this job, the designer jeff hile. he claims he has not been paid either and is apparently just eating his substantial loss of $8,000. i don't know what to make of that.

if anyone can fix this situation, that would be great. it seems that i'm just an artist being taken advantage of yet again. help me and my fellow workers!!!

[Fiachat]

Look folks, it's the Kodak, not Broadway, so I think many of you overexpected. It's a very small stage, and sets are not going to be elaborate. We took our daughter on the 30th for her fourth birthday, and we all very much enjoyed the experience. At the end of the play, my little girl was even handed a piece of candy by Mr. Lloyd himself! Something she may not remember, but we certainly will. I of course was very disappointed that Jane Seymour withdrew due to illness or whatever, but considering how little we paid for these tickets, it was a very nice evening. We sat in the front row, not realizing just how close that was,and still we had a great time. I would like to publicly thank Christopher Lloyd, John Goodman, Jane Leeves & the rest of the cast for being very professional and giving it their all despite the (minor) problems with the production. Seeing them was a real treat and my family and I commend them for just showing up.

[anonymous]

I am at a loss for words to express the chaos of having worked on this production. Not from the crew,actors, but from Kevin Von Feldt. After having read these comments I am appalled at the prospect of a future production of this play on his part. If I were to sit with anyone and tell of the troubles I and my coworkers endured you'd get a headache and sick to your stomach. It's not enough to say that people were'nt paid or only partially paid. What most clearly stuck out for me was the slealth w/which it was done. The calculation w/which it was carried out left me wondering how far ahead this person was in the chess game which was being played. A blitz of half truths and infractions that left me happy to be free of my employment obligations. Repeat after me, "DISGUSTING AND SHAMEFUL" .

[Ethics Watcher]

Who is Kevin Von Feldt?

A Con-artist.

Search the web:

kevin von feldt sun sentinely