The 2021 production of "A Christmas Carol." Photo by Jon Gitchoff.
A Christmas Carol
This holiday season, The Repertory Theatre of St. Louis is inviting guests to keep Christmas in their hearts with their second annual production of A Christmas Carol, adapted from the original Charles Dickens novel by Michael Wilson. The show features a multi-generational cast thanks to collaborations with a youth company from the Center of Creative Arts’ (COCA) Theatre Artist Pre-Professional Division, as well as members of the Webster University Conservatory and The Big Muddy Dance Company.
Performances will take place on the Mainstage at the Loretto-Hilton Center for Performing Arts in Webster Groves and run through December 30. We caught up with music director Tre’von Griffith ahead of the show’s opening night to discuss this budding holiday tradition, The Rep’s partnerships with other St. Louis talent, and the season’s spirit of giving.
What made you decide to join this production of A Christmas Carol with The Rep?
I started working with The Rep during the pandemic, actually. I got a chance to work on some things for their Imaginary Theatre Company; I music directed a show that the composer for A Christmas Carol wrote. So they asked me to come back and to music direct A Christmas Carol, and of course I said yes, because who doesn't love Christmas?
What was your experience like working on last year’s production of A Christmas Carol?
The first experience was so thrilling. It was challenging to put such a huge show together—the magnitude of the show is massive in terms of how big the cast is. I had never actually done a production this big, so it’s challenging at first to learn how to work in that kind of space and how to build the best that you can from people of different levels. It was amazing, audiences loved it, and we’re so happy to be able to bring it back again this year.
This show is a beloved classic. How do you balance incorporating its hallmark qualities with some new elements?
I think the story remains relevant even today. It's those themes of overcoming isolation, reflecting on the past, and looking into the future; especially after the pandemic, I think it's very relevant. It's still the classic story that everybody loves, but of course it will be updated with a contemporary style so that our audiences can enjoy the story in a fresh way.
In what ways do you think the collaborations with COCA, the Webster Conservatory, and Big Muddy Dance Company have impacted the production?
I think it really shows the fabric of St. Louis talent and just how vibrant and thriving it truly is. The choreographer [Kirven Douthit-Boyd] is now the artistic director for Big Muddy, and we're having that collaboration by using some of their dancers to be a part of the show. Then you have these pre-professional actors from COCA who get a chance to step into a masterclass every day, and we also get to see Webster University students who are a little older than them but also pre-professional. I think it's a masterclass in great talent and how to put shows together. It's such an amazing experience for all of these people from different generations to be able to be in the same room to create a show.
It sounds like a really creative group of people to work with because everyone is coming from a different experience.
Yeah, correct. I think [the pre-professional actors] really look up to the adult cast. Like I said, it really is a masterclass every day you walk into rehearsal, and a chance to learn how to be better and work on your craft. To be able to music direct all of these different generations is so heartwarming to me, because they bring different light and different experiences to the table. So I think we're able to pull from everybody's level, to really go deep into what the show is about, and to come together to sing these beautiful songs.
From a music direction standpoint, what has the production process looked like for you?
Well, the youth ensemble gets a little more attention. I was actually able to do a workshop before we even started rehearsal with the youth ensemble to get them prepared. You know, some of these children have actually never been in a production or anything in the professional setting. It's also about a teaching moment—what’s etiquette, what’s rehearsal etiquette, how do we actually approach music and singing? Not only that, but how do we translate it from sitting down and learning music to actually getting on stage and performing?
This year’s production features specially themed performances, such as a Pay What You Can night, to “celebrate with the entire St. Louis community.” Can you tell me more about why you think these opportunities are impactful?
I believe nights like that are so important, especially the Pay What You Can night. A lot of times, to build new audiences, the main issues are about access. Especially during a time like Christmas, we want everybody to be able to experience this tradition. If we can make it more accessible so that people from all different demographics and levels can come experience it, I think that's so amazing. Ticket prices aren't necessarily cheap; of course, we need to keep them that way so that we can sustain. But I also feel like it is so important to have an accessible performance, because maybe some youth who can’t necessarily pay all of the money for a ticket can come experience something like this and be inspired.
Obviously you all have been embracing the spirit of the season. Is there anything else you think audiences should know about this production?
The essence of the Dickens classic remains the same. We spruced it up with amazing dancing and a peek of the future, and it’s exuberant and fast-paced. I think that people will enjoy a lot of the production elements, and how the story is still true to today—but it’s also updated for every audience and every generation to enjoy.
A Christmas Carol runs through December 30 at Loretto-Hilton Center. For tickets, a full schedule of special events, and more information, visit repstl.org.
