Christmas Carol

Days of Fezziwig past

Fertile Ground 2021: An overlooked character from "A Christmas Carol" gets his close-up in "Fezziwig’s Fortune"

Fezziwig’s Fortune is technically a prequel to A Christmas Carol, but that description is both accurate and inadequate. The play – which was written by Josie Seid and Sara Jean Accuardi and is being featured in Fertile Ground‘s 2021 online festival of new performance – is something more: an intensely moving portrait of a grieving father and the forces (supernatural and otherwise) that reveal the possibilities beyond his pain.


ONLINE FESTIVAL: FERTILE GROUND 2021


In A Christmas Carol, Fezziwig is Ebenezer Scrooge’s ex-mentor—and a model for him to emulate (Charles Dickens presents him as a man who hasn’t let his cash eclipse his heart). “Say that his power lies in words and looks; in things so slight and insignificant that it is impossible to add and count ’em up: what then?” Scrooge wonders. “The happiness he gives, is quite as great as if it cost a fortune.”

The premise of Fezziwig’s Fortune is perfect and perverse: It asks what agonies might lie behind its protagonist’s ebullient exterior. By the beginning of the play, Fezziwig (James Dixon) has witnessed the death of his daughter Joy (Barbie Wu) and the worsening headaches of his wife, Catherine (Nicole Accuardi). When an apparition named Hope (Andrea White) arrives to prepare Catherine for the next life, the scope of Fezziwig’s tragic existence comes into focus: He will be forced to endure a second loss when he hasn’t even begun to recover from the first.

Continues…

Eggnog & Nutcrackers to the 2020 rescue

ArtsWatch Weekly: Holiday shows in the St. Nick of time; making theatrical spirits bright, gallery art, new music, fresh flicks, passages

EGGNOG AND CHRISTMAS MUSIC ARRIVED A FEW WEEKS EARLY at our house, and really, who could blames us? – the quicker we can nudge 2020 toward the door, the sooner we can move on to something a little more promising. The early arrival of eggnog in grocery-store coolers was, I suspect, a calculated move by the dairy industry, which rightly surmised that a lot of people who’ve pretty much had it with this train wreck of a year would like an early start on the holiday season. As for those Christmas CDs (yes, we still listen to CDs), a lot of the greatest music known to humankind was composed for winter celebrations. Even popular holiday songs can feel like old friends and true companions. Winter Wonderland is an eminently hummable and whistleable tune, even if, after a certain number of repetitions, your podmates cry for mercy.

One of the things that goes with the season is The Nutcracker, a Russian tradition that became an American inevitability, performed annually to box-office hallelujahs everywhere from New York City Ballet to Miss Marcie’s Junior Terpsichorean Academy in Little Falls, Oklahoma (if such a training ground for budding balletic talent actually exists). For a stretch of several years it was one of my annual tasks to review the newest incarnation of The Nutcracker in town, an assignment that usually gave me enjoyment in the watching but consternation in the writing: What could I possibly say that was both pertinent and new? One year I found myself lost in description of the one thing that seemed, at that particular performance, most striking: the pleasure on the faces of the flock of star-struck little girls who had rushed down to the orchestra pit during intermission to get a little closer to the magic. Pertinent? On that day it seemed almost the whole point.

Sugar plums with a beat: Portland’5 Centers for the Arts presents a one-night stream Dec. 12 of Decadancetheatre’s live-recorded “Hip Hop Nutcracker,” set in Brooklyn in the 1980s, with Kurtis Blow as emcee. Photo courtesy Jennifer Weber 

Continues…