A Note from Roche Schulfer

A Note From Roche Schulfer, “The Founder of the Feast”

by ROCHE SCHULFER Originally printed in Onstage+ for the 40th anniversary production of “A Christmas Carol”

A rehearsal in 1997 for the scene in which Scrooge visits the Cratchit family dinner. Photo by Lisa Ebright. With each passing year, more Theatre received their world easy, as not everyone thought it and more of our audiences premieres, giving the Good- was a brilliant idea. have come to know Goodman man an unprecedented level Theatre as a major U.S. cultural of local and national visibility. A Christmas Carol is an epic organization with wide ranging story, and at that time, it was productions and community Our immediate planning the largest production that the programs. But this was not priority was how to attract an Goodman had ever produced. It always the case. In 1978, the audience during the month of would have to run for three seaGoodman was only two years December, when people are sons to recoup its initial investinto its existence as an inde- preoccupied with holidays, ment, and put a giant demand pendent not-for-profit theater family, and friends. As Greg and on our production resources (instead of a department of I discussed seasonal fare, we and personnel. What’s more, the Art Institute of Chicago) very quickly landed on Charles being a well-known and beloved and the pressure on the “new” Dickens’ A Christmas Carol ; we story made the task even more Goodman to generate patrons had both grown up with the daunting, as audiences would and fill seats was enormous. Alistair Sim film version, and I take their seats with high expecTo invigorate the theater’s remembered Marley’s chilling tations. If it failed, the financial artistic direction that year, the ascent to Scrooge’s chambers repercussions would be very new board of trustees, under on my record player. The obvi- serious for the Goodman. FortuStanley Freehling’s leadership, ous appeal of this entertaining nately, the decision was made to appointed Gregory Mosher as ghost story about forgiveness, proceed. artistic director. I had worked redemption, and love for our with Greg as producer of the fellow human beings was irre- We knew we needed an artist of Goodman’s Second Stage, sistible. significant talent and ability to where David Mamet’s Ameri- play Ebenezer Scrooge. After all, can Buffalo and A Life in the We had to do it. But it was not the character is on stage for the

entire play, and largely carries cluding the memorable night attended the early producthe production. Besides stami- when the young actor playing tions are now bringing their na, he must make Scrooge Tiny Tim initiated a food fight children (and grandchildren). as believable as the irascible on stage during the Cratchit From the outset, we wanted miser as the warm and jovial family dinner. Or the matinee the production to be a family figure he becomes at the end. when Scrooge’s flying apparatus event—not a children’s theater suddenly malfunctioned, leav- performance. To see audiences In 1978, William J. Norris was ing him suspended (and swing- of parents, children, and relaa charismatic Chicago actor ing) midair—until a cherry picker tives enthralled and engaged doing incredible work with entered to bring him down. is totally inspiring. A Christmas Stuart Gordon’s legendary Then there was the time when Carol has been a key part of Organic Theatre—and much the life-sized replicas of Scrooge our School Matinee Series, the too young to play Scrooge as and Christmas Present once entry point for teachers worka conventional “old codger.” used in the production disap- ing with us for the first time. But I felt strongly that his age peared from storage, leading to would be an advantage to our the evening TV news headline: Did I know 40 years ago that production, turning Scrooge “Who Stole Scrooge?” all of this would take place? into a recognizable contempo- Well, no. But I was confident rary businessman. There was People have asked how we keep that we were producing A no question in my mind that A Christmas Carol fresh and Christmas Carol for the right Bill was up to the challenge, alive? The answer is that for all reasons, and that it would have and he magnificently delivered of us at the Goodman, A Christ- an impact on audiences for a an Ebenezer Scrooge who was mas Carol is much more than a number of years. A Christmas at once terrifying, hilarious, holiday entertainment or diver- Carol cannot stay the same— and profoundly moving as he sion. We believe that Charles but we strive to only change contemplated his failure with Dickens’ “little Christmas story” it in ways we believe enhance Belle and his later reconcilia- promotes values that are uni- the experience for the audition with Fred. There was not a versal and true everywhere in ence and all connected with it. dry eye in the house. the world—compassion, un- To provide A Christmas Carol derstanding, love, empathy, for Chicago over the past four It was Bill’s performance that forgiveness, and redemption. decades is a highlight of my made the production a suc- Presenting this story each year life in the theater, and I am cess from the outset, and to thousands of people is an grateful to all of the countless helped establish A Christmas enormous privilege we take very artists, professionals and paCarol as a new Chicago holiday seriously, and hope contributes trons who make it possible. tradition. The extraordinary in some small way to building a Chicago actors who have fol- better society. Here’s to the next 40 years lowed in his footsteps include of A Christmas Carol at the Frank Galati, Tom Mula, Rick Since 1984, A Christmas Carol Goodman! Snyder, William Brown, Jona- has featured a culturally diverse than Weir and John Judd. This cast, becoming the highest proyear, Larry Yando celebrates file Chicago production to take his 10th season in the role, that step. It was not a completehaving made a tremendous ly popular decision at the time— impact with his gruff, snide, but it gives me hope to know and endearingly heartwarming that its casting is now largely performance. embraced by our community.

Over 40 years, we have learned to expect the unexpected on stage and off—in5

We have now seen A Christmas Carol create several generations of new theatergoers. Youth who

Roche Shulfer, Executive Director