We all know the tale. A wealthy and stingy businessman is visited by the shackled ghost of his former partner with warnings of a torturous afterlife should the miserly old Scrooge not change his selfish, money-obsessed ways. The spirits of Christmas Past, Present, and Future, who visit next, bring with them visions of Scrooge’s own childhood, the hardship and joys of those around him now, and the consequences of his actions if Scrooge continues on as he has been. A Christmas Carol by Charles Dickens at Silver Spring Stage — adapted by Peter Orvetti and co-directed by Peter Orvetti and Jeff Poretsky — is a heart-filled way to get into the holiday spirit and an inspiration for us all to embrace generosity and humanity this season.
Guiding the evening’s events along were not one but three narrators: a lady, a gentleman, and a shop worker. Referred to in the playbill as Narrator Boz, played by Steven Malone; Narrator Ned, played by Alan Gonzales Bisnes; and Narrator Vic, played by Becca Wattseach, they each brought to the telling of the tale their own spin, which, while not entirely cohesive or explained, had spirit and commitment.
Filling the air with a chill of unfeeling inhospitality was the slick-haired and slickly demeanored Ebenezer Scrooge played by Andrew Greenleaf. Making an oily impression from the very start, Greenleaf’s slight northeastern accent was a very effective way to connect our American audience with the Victorian England source material and make this penny pinching boss even more reflective of our own society (and potentially bosses).
Unconfinable were the Ghost of Christmas Past, played by Harper Ruszkowski; the Ghost of Christmas Present, played by Darcella Owens; and the Ghost of Christmas Future, played by Tara Scully. With a china doll–like poise, Ruszkowski as Christmas Past made it easy to believe she was as old as Scrooge and twice as wise. With enough cheer and personality to fill a great hall, Owens’ Ghost of Christmas Present was a crowd favorite. And the stoic movements of Scully’s Ghost of Christmas Future was as haunting as the all too real warnings of the costs of a life selfishly lived.
Another standout was Jacob Marley (also Guest One/First Businessman), played by Tone Arce. With a rhythmic and vacant voice, Arce as Marley brought an element of spoken word poetry to his performance, which was refreshingly original, speaking his warnings — against greed and disdain — to the audience as much as to Scrooge himself. Humanity was to have been Marley’s purpose, and should be ours with the time we have left.
Shaking off some opening night jitters but still with plenty of excitement was the rest of the cast, including Sean Healy, Emma Bailey, Kenneth Edwards, Kaidan Hetzer, and Angelina Greenleaf. Mr. Fezzwig (also Joe), played by David Jackson, and Mrs. Fezziwig (also Mrs. Dilber), played by Meagan Boyd, were as jolly and generous as you could hope to be. Fred played by Kelci Friend had a grand old time playing parlor games with her husband and friend during the Ghost of Christmas Present’s visit, while Bob Cratchit, played by Thomas Friend, and his wife, Rachel Cratchit, played by Carla Morgan, wrangled a half dozen children — Isha Goel (Martha Cratchit/Miss Ives), Zachary Boyd (Tiny Tim Cratchit), Ellison Bihm (Child 2/Cratchit Child), Braden Ruszkowski (Child 3/Cratchit Child), and Mackenzie Ruszkowski (Child 4/Cratchit Child) — around a cheery holiday table in one vision and a somber hall in another.
The young actors of the ensemble were also joys to watch throughout, bringing the type of adorable focus that makes you smile and sure that every one of them has caught the acting bug. Of particular note was Peter Cratchit, played by Shane Levine, doing a standout job building a complete person out of his minor role. From sneakily trying to take the last bite of his father’s Christmas meal to nervously shaking his leg in the vision of the Ghost of Christmas Future, Levine found a lot of room to run with the time he was given. Similarly, Addison Ruszkowski as Belle Whittington and later Miss Mangle brought forward a thoughtful and nuanced performance that lit up the corners of a stage, drawing your eye to her no matter what was happening.
Taking the simple black box theater from London street to cold office to cheery home and back again was the creative team of the production. Co-direction by Peter Orvetti and Jeff Poretsky gave loose structure to the production’s adaptation and to many of the first-time actors’ performances. Set design by Douglas Becker was minimal, just a white cutout of the London skyline that allowed for various projections with sparse furnishings, leaving ample room for your imagination. Sound design by Katy Ann Carr incorporated an interesting acoustic song at the top, warning of the fate of Marley, while lighting design by Syd Johnson worked hard to try to balance the brightness of Christmas revelries with the shadows of Scrooge’s greed. Costume design by Jennifer Morrissey had a challenge on her hands with such a large cast, yet she found fitting options for each.
A holiday classic for a reason, any production of A Christmas Carol this time of year gives us all a lot to think about, and the Silver Spring Stage production is no different. Add in the particularly grim year the DMV region has had, and this story’s themes of compassion, social welfare, and human connection are the ones to shine the brightest of all. May the ghosts of Christmas and the lessons they bring inspire us all to share what we have, look out for those less fortunate than ourselves, and strive every day to keep the spirit of Christmas in our hearts. God bless up, everyone.
Running Time: 75 minutes, including one 15-minute intermission.
A Christmas Carol plays through December 21, 2025, at Silver Spring Stage, 10145 Colesville Road, Silver Spring, MD. Purchase tickets ($28; $25 for students and seniors) at the door, online,or by contacting the Box Office at boxoffice@ssstage.org or 301-593-6036.
