[UNTITLED CHRISTMAS CAROL PROJECT] A Holiday Story With Ghosts and Sticks by
**BRAND SPANKIN' NEW!**
What happens when a somewhat cynical, socially focused theatre-maker adapts Charles Dickens’ A Christmas Carol? She deconstructs the whole thing, excises the improbably reformed capitalist/sugar-daddy ending, and puts the plot in the audiences’ hands, of course!
This meta-theatrical, highly interactive play is brought to life by old, dead Marley, who leads a...
What happens when a somewhat cynical, socially focused theatre-maker adapts Charles Dickens’ A Christmas Carol? She deconstructs the whole thing, excises the improbably reformed capitalist/sugar-daddy ending, and puts the plot in the audiences’ hands, of course!
This meta-theatrical, highly interactive play is brought to life by old, dead Marley, who leads a...
**BRAND SPANKIN' NEW!**
What happens when a somewhat cynical, socially focused theatre-maker adapts Charles Dickens’ A Christmas Carol? She deconstructs the whole thing, excises the improbably reformed capitalist/sugar-daddy ending, and puts the plot in the audiences’ hands, of course!
This meta-theatrical, highly interactive play is brought to life by old, dead Marley, who leads a cadre of self-aware characters aiming to enlighten (and change) old, miserly Scrooge. After witnessing a deconstructed version of his past, present, and future, however, Scrooge determines the best way to affirm his standing is to shore up his business against those that would tear his company down, and he invites our beloved Bob Cratchit to become a partner in these efforts. It is Cratchit then, who is faced with the play’s final decision: Become complicit in Scrooge’s malfeasant dealings but take better care of his family through the financial rewards of this action, or take the moral, but financially unstable (and probably catastrophic) high road of turning Scrooge’s partnership down? Because the play is interactive, the audience themselves will be able to make this choice, putting them directly in Cratchit’s shoes.
It’s not ALL brain (or heart?) work for our audience though… There’s also a puppet wrestling match, bloody piñata explosion, food, prizes, dancing, and a whole lotta’ laughs.
**Definitely excited about further development - this is a first draft!**
What happens when a somewhat cynical, socially focused theatre-maker adapts Charles Dickens’ A Christmas Carol? She deconstructs the whole thing, excises the improbably reformed capitalist/sugar-daddy ending, and puts the plot in the audiences’ hands, of course!
This meta-theatrical, highly interactive play is brought to life by old, dead Marley, who leads a cadre of self-aware characters aiming to enlighten (and change) old, miserly Scrooge. After witnessing a deconstructed version of his past, present, and future, however, Scrooge determines the best way to affirm his standing is to shore up his business against those that would tear his company down, and he invites our beloved Bob Cratchit to become a partner in these efforts. It is Cratchit then, who is faced with the play’s final decision: Become complicit in Scrooge’s malfeasant dealings but take better care of his family through the financial rewards of this action, or take the moral, but financially unstable (and probably catastrophic) high road of turning Scrooge’s partnership down? Because the play is interactive, the audience themselves will be able to make this choice, putting them directly in Cratchit’s shoes.
It’s not ALL brain (or heart?) work for our audience though… There’s also a puppet wrestling match, bloody piñata explosion, food, prizes, dancing, and a whole lotta’ laughs.
**Definitely excited about further development - this is a first draft!**