Giving Life to Spirits

Spirits play a large part in the world of A Christmas Carol. The depiction of spirits that you will see on our production are in part a result of Maryann Lombardi’s writing and direction, but also a collaboration between the costume designer, Sarah Nelson; the puppet designer, Miguel Romero; and the actors.

The Spirit of Christmas Past
“It was a strange figure – like a child: yet not so like a child as like an old man, viewed through some supernatural medium, which gave him the appearance of having receded from the view, and being diminished to a child’s proportions. It’s hair, which hung about its neck and down its back, was white as if with age; and yet the face had not a wrinkle in it, and the tenderest bloom was on the skin. The arms were very long and muscular; the hands the same, as if its hold were of uncommon strength. Its legs and feet, most delicately formed, were, like those upper members, bare. It wore a tunic of purest white; and round its waist was bound a lustrous belt, the sheen of which was beautiful. It held a branch of fresh green holly in its hand, and, in singular contradiction with the wintry emblem, had its dress trimmed with summer flowers. But the strangest thing about it was that from the crown of its head there sprung a bright clear jet of light, by which all this was visible; and which was doubtless the occasion of its using, in its duller moments, a great extinguisher for a cap, which it now held under its arm.”

The Ghost of Christmas Present
“There sat a jolly Giant, glorious to see; who bore a glowing torch, in shape not unlike Plenty’s horn, and held it high up… It was clothed in one simple deep green robe, or mantle, bordered with white fur. This garment hung so loosely on the figure that its capacious breast was bare, as if disdaining to be warded or concealed by any artifice. Its feet, observable beneath the ample folds of the garment, were also bare; and on its head it wore no other covering than a holly wreath, set here and there with shining icicles. Its dark brown curls were long and free; free as its genial face, its sparkling eye, its open hand, its cheery voice, it unconstrained demeanour, and its joyful air. Girded around its middle was an ancient scabbard; but no sword was in it; and the ancient sheath was eaten up with rust.”

The Ghost of Christmas Future
“The Phantom slowly, gravely, silently approached… It was shrouded in a deep black garment, which concealed its head, its face, its form, and left nothing visible, save one outstretched hand. But for this it would be difficult to detach its figure from the night, and separate it from the darkness by which it was surrounded. He felt that it was tall and stately when it came beside him, and that its mysterious presence filled him with a solemn dread. He knew no more, for the Spirit neither spoke nor moved.”

Further Activities

Double Casting: Charles Dickens was notorious for writing novels that featured hundreds of characters. In the UMass production of A Christmas Carol, Maryann Lombardi determined that apart from the actors playing Scrooge and Marley all the characters should come out of a chorus of seven actors. See if you can allocate the following roles to the seven chorus members, so that no-one has to play two characters in one scene. Try not to cross genders by, for example, asking a male chorus member to play Belle, and allow time for big costume changes: Mr. Cratchit, Fred, Gentleman one, Gentleman two (the men who ask for a charitable donation) Fanny, Ghost of Christmas Past, Young Scrooge, Mr. Fezziwig, Mrs. Fezziwig, Belle, Ghost of Christmas Present, Rick, (Young Scrooge’s friend), Charlotte, Guest One and Guest Two (at Fred’s party), Tiny Tim, Mrs. Cratchit, Martha Cratchit, Peter Cratchit, Want, Ignorance, Ghost of Christmas Future, Body, Servant, Housemaid (the people that rob Scrooge after death), Undertaker’s Man, Joe, Wife, Boy, (that Scrooge gives money to at the end).

Story, film and stage: Read Charles Dickens’s original A Christmas Carol short novel and in addition to attending the University of Massachusetts production, choose one of the many A Christmas Carol movies to watch. This will give you an ideal opportunity to compare story telling in books, on film and for the stage.

How do the different art forms bring out different aspects of the story of A Christmas Carol? A Social Commentary: Research the social conditions of the children and poor in Victorian London, (particularly look for the Poor Law Amendment Act of 1834). How do you think Charles Dickens used A Christmas Carol to draw attention to the plight of the young and impoverished? Do you think the story still works as a social commentary for today’s audiences?

Imagine that you were the costume/ puppet designer, and draw your designs for each of these characters. Remember to also think about their function in the story of Scrooge’s redemption.