In the opening scene of the Goodman Theatre’s “A Christmas Carol,” newly directed by Malkia Stampley this year, an adult and child appear on the foggy bank of the River Thames, clutching all their worldly belongings in a few modest pieces of luggage. While it’s unclear where these new arrivals hail from, it seems likely they will find their place in the vibrant, polyglot London depicted here. As various ensemble members begin to narrate the tale of Ebenezer Scrooge and his ghosts at an impromptu gathering around a coal fire, the communal nature of this production is established from the start.
As a repeat attendee, I find this show lands differently each year, depending in part on my own level of optimism or cynicism about the state of the world. In 2025, it’s a mixed bag. On the heels of a difficult autumn for many communities in Chicago, I see the spirit of generosity and inclusion that I’ve observed in my own neighbors reflected in the kindhearted people of this play. Yet, during a period of extreme wealth disparity, with a social safety net more threadbare than Tiny Tim’s jacket, the overnight transformation of a miserly moneylender into the picture of avuncular goodwill feels a bit quaint. I can’t help but wonder: is this perennial favorite simply a soothing tonic we imbibe each December?
Regardless of my conflicted response, Christopher Donahue continues to charm as Scrooge, a role he reprises for a second season. With his droll mannerisms, bemused facial expressions and tic-like delivery of “humbug,” he’s almost more misfit than monster: a figure to be pitied, as his niece, Frida (Amira Danan), astutely recognizes. Of course, for those over whom he holds power — such as his overworked and underpaid clerk, Bob Cratchit (Jon Hudson Odom), and the recipients of his predatory loans — there’s real menace in his mercurial ways.
Danan and Odom, by the way, are two highlights of this year’s casting changes. After playing Belle, young Scrooge’s fiancée, in previous seasons, Danan graduates to the role of Frida, a married woman with a strong sense of familial loyalty and patient compassion (within limits) for her prickly uncle. Already a gender-swapped role from the original, Frida’s sexuality also gets an update this year; her spouse is a woman named Abigail (Jazzlyn Luckett Aderele). Given that same-sex marriage wasn’t legalized in the UK until 2014, this detail seemed anachronistic until I recalled that at least one unofficial lesbian marriage predates Dickens’ novella: the 1834 union of Anne Lister and Ann Walker, not legally binding but sealed over the sacrament of communion at Holy Trinity Church in Goodramgate, York.
Odom, also a returning cast member, debuts as the patriarch of the Cratchit family, joined by Helen Joo Lee as Mrs. Cratchit and Viva Boresi, Sól Fuller, A’mia Imani, Carmelo Kelly, Henry Lombardo and Ella Boparai as their children. His warmth and playfulness set the tone for the harmonious Cratchit household, which melts Scrooge’s icy heart as he looks on with the Ghost of Christmas Present (Bethany Thomas). In a futuristic scene set at the grave of Tiny Tim (Boparai), Odom’s portrayal of a father’s grief is understated yet affecting.
on Hudson Odom, Ella Boparai, Carmelo Kelly, Viva Boresi, Bethany Thomas, A’mia Imani, Henry Lombardo, Sól Fuller and Helen Joo Lee in the Goodman Theatre’s 2025 holiday production of “A Christmas Carol.” (Brett Beiner)
The production design, still anchored by Todd Rosenthal’s familiar set, offers several new elements. Gregory Hirte, an actor-musician in his 25th year with the production, steps into the role of music director for the first time. While the pre-recorded score by composer Andy Hansen maintains its cinematic quality, the onstage musical performances lean into multicultural influences more than ever.
As in former director Jessica Thebus’ production, the Christmas party hosted by Mr. and Mrs. Fezziwig (Robert Schleifer and Christiana Clark) includes a song-and-dance interlude of multilingual greetings. This year’s iteration — featuring Italian, Assyrian, Farsi, Spanish and Yoruba — is enhanced by culturally inspired choreography from Tor Campbell and nods to international styles in Heidi Sue McMath’s Victorian costumes. The cast’s wide range of accents (vocal and dialect coaching by Michelle Lopez-Rios) and subtle details like the Cratchits’ use of chopsticks at the dinner table complement these choices.
Helen Joo Lee, Brian Goodwin, Sól Fuller, Austin Tichenor, Viva Boresi, Chris Khoshaba, Anthony Irons and Elleon Dobias in the Goodman Theatre’s 2025 holiday production of “A Christmas Carol.” (Brett Beiner)
So, what to make of “A Christmas Carol” on my fifth viewing at the Goodman? I can’t say that I came away with an unalloyed sense of hope, but rather a sober appreciation for the moral clarity of the Ghost of Christmas Present. In her horror-infused final scene, Thomas reveals two gaunt children (Kelly and Boparai) who represent the societal ills of Ignorance and Want. When Scrooge asks if they are hers, the ghost responds, “They are yours; they belong to all of you.” This collective indictment is a reminder that, though we can’t count on the Scrooges of our own world to change for the better, the rest of us can and should do our parts to banish these scourges from our midst.
Emily McClanathan is a freelance critic.
Review: “A Christmas Carol” (3 stars)
When: Through Dec. 31
Where: Goodman Theatre, 170 N Dearborn St.
Running time: 2 hours, 20 minutes
Tickets: $34-$173 at 312-443-3800 and goodmantheatre.org
