Charles Dickens’
A CHRISTMAS CAROL
A Short Play in Five Quick Acts
By M. Ryan Taylor
Based on the novel A CHRISTMAS CAROL
By Charles Dickens
Adapted for guerilla theater productions (roadshow theater, reader’s theater, radio theater, house concert theater, family theater, dinner theater, etc.).
Script now available on Amazon.
AUTHOR’S NOTE
I have tried to condense this classic story down to the shortest time-frame possible without losing the things that make the story sweet and poignant. Some adaptions (particularly Mickey’s Christmas Carol and other animated versions) achieve even shorter abbreviations of Dicken’s story by relying on the viewer’s familiarity with the source material. I’ve tried to avoid that assumption and make sure all the key story points are intact. My hope is that this version will be understandable to someone experiencing the story for the first time.
My other guiding aim has been to make it possible for a very small force of actors to be able to present this story in a variety of non-traditional and traditional venues, from homes to rest homes, and from black box theaters to live radio theaters. To achieve this, some memorable characters have been cut or condensed into others. For example, the two gentlemen that seek donations for the poor have become one gentleman (a change that makes little difference). I have tried my best not to cut any core elements of the story, but some charming characters have been lost in the process (i.e. Topper, a full household of Cratchit children, etc.). Also, in this version, the non-speaking roles of the Poulterer and the Ghost of Christmas Future are never seen by the audience, though Scrooge interacts with them.
That said, a production of this adaptation does not need to limit itself to three actors. That self-imposed restriction was created so I could take this into rest homes with just my wife and son in tow. There are 27 speaking roles in the play. You may choose to single cast each role, or work out another combination of multiple-role-playing, or use the 3 or 5-actor versions I’ve laid out. These frameworks certainly pose logistic issues; for example, the three actors must play characters male and female, young and old, in quick succession. This will prove a fun challenge for some, while others may decide to stage it more traditionally. Either way, “God bless us, everyone!”
AUDIENCE PARTICIPATION
Inviting the audience to sing along with the cast is a great way to get them engaged with the show. It might even be suggested that their participation will help Scrooge in his transformation. Here is a selection of carols that were well-known at the time A Christmas Carol was first published in 1843 along with their suggested order and notes on placement:
Opening: Hark! The Herald Angels Sing | Used in the opening titles of the 1951 film adaptation, this is a familiar carol that offers an upbeat start.
After Act 1, Scene 2: God Rest You, Merry Gentlemen | The young caroler in Act 1 never gets to finish this carol. The audience gets to complete it for him.
After Act 1: The First Noel | Singing, “They looked up and saw a star,” after Marley’s lament about not looking up to see where the star of Bethlehem might have guided him seems appropriate.
After Act 2: Bring a Torch, Jeanette, Isabella | A fitting transition from the candlelight of Christmas Past to the torchlight of Christmas Present.
Act 3, Scene 2: Good King Wenceslaus | The audience may join Tiny Tim in singing this carol while the scenes of Christmas cheer that the spirit presents Scrooge are projected on a screen.
After Act 5: Joy to the World | A triumphant conclusion to Scrooge’s transformation and a celebration of the newfound joy he feels in Christmas and in reaching out to others with charity, humor and love.
PERFORMANCE RIGHTS
Grand rights (i.e. rights to perform) are hereby granted to free and no-fee performances for rest homes, care centers, hospitals or other venues where the actors are seeking to be of service and are not collecting any admission or performance fees. Though there are no fees for this kind of performance, please report performances to mryantaylor@gmail.com.
Grand rights for ticketed, general admission events, or performances for hire (where a fee of any kind is charged by the performers for the performance) are granted based on the following royalty schedule.
TICKETED OR GENERAL ADMISSION EVENTS: $1 per ticket sold, or 10% of gross ticket/admission sales, whichever is greater.
PERFORMANCES FOR HIRE: 10% of the gross performance fee.
REMISSION OF ROYALTIES may be sent via PayPal to mryantaylor@gmail.com or mailed by check to:
M. Ryan Taylor
c/o Vocal Works
856 N. 350. W
American Fork, UT 84003
