by Mary L. Clark of John Garcia's The Column

The music and songs were of such surprising quality they could compete at the CMA Awards or go into stores as Christmas classics.

Why another Christmas Carol? Actually, that question was raised in the playbill notes. I had asked myself the same question. Why should a theatre go to all the effort of dragging out that old chestnut of a story in yet another variation? But, you know, with this entire recession hum bug, I was ready for a little Christmas, and it was with that question in mind that I meandered over to Fort Worth in search of the answer.

A Lone Star Christmas Carol, the new musical by Gary Moody and Gary Taylor, is being performed at Circle Theatre in the heart of Sundance Square just minutes from the stockyards. Couldn't get any more Texan than that, so the location was appropriate, but still, why A Christmas Carol and a musical to boot? (Pun intended.)

You see, I'm not a big country and western fan. I tend to think of the music as somewhere between Hank Williams and Hee Haw. The set of A Lone Star Christmas Carol didn't help matters. A simple, loose-slatted wall with large double doors was the barn turned into hoedown or the proverbial "let's put on a show in the barn."

The three piece country band, aptly named The Taylor-Made Boys, stepped onto the center platform, playing the overture to get us all into the country swing while audience members were still being seated. It was Texas twang all the way but by the time the Narrator took stage in white Stetson, vest and boots uttering the classic opening line, "Marley was dead," the country spell was set.

Each actor came out wearing jeans, pencil skirts, yoked shirts and lots of boots. You would have thought you were at the Grand Ole Opry. Their enthusiasm, high energy and obvious love of what they were doing was instantly infectious and melted all (mostly all!) of any preconceived hokiness away and left us with that age old story of man's redemption. Now, if you are not familiar with A Christmas Carol, may I suggest you go to your nearest library and look under D for Dickens?

Simplicity was the word here. A bench or chair, a box or barrel or stool deftly transformed Scrooge and us through all the time periods and visions of his one night.

Adding simple costume pieces and few or invisible props, Director Chris Robinson believed enough in the audience's intelligence to understand exactly what was taking place in each scene. Belief was big in this show. Not only belief in man's humanity to man, but the actors' belief in the story and in themselves so we could see each imaginary platter or glass, the weight of the huge turkey Scrooge bought for the Cratchitts or Tiny Tim on his father's shoulder.

The audience easily accepted different actors portraying the same character or an adult playing Tiny Tim. It did not matter because the actors were so committed to the work.

The book for A Lone Star Christmas Carol is by Gary Moody with music and lyrics by both Gary Moody and Gary Taylor. Moody's dialogue is full of what they call "Texasisms" such as "it's hotter'n a hog on a hot plate." While country to the core, the songs added such depth of emotion, both comedic and dramatic, to the story. As with any good country song, they were a bit bawdy or a bit funny or brought a tear to the eye.

Many, many times in this production, I was drawn right out of Texas and into Dickens' world and then, in a blink, back to the barn. I kept thinking how simple a concept the show was, though what the actors did was far from simple. Precisely staged, each actor/singer was either narrating or moving a chair, box or microphone stand into the next scene almost before the last scene was finished, it was that tight. Circle Theatre has a small thrust stage with three-sided seating and not a single audience member was left out, which is an art in itself. The actors reached us with their eyes as well as their voices and never let us go.

Director Robinson assembled one of the most competent and, more importantly, one of the most compatible group of actors I have been privileged to see. They had to be – six actors and three band members playing all the many ages and dispositions of people for which Dickens is well known. There are truly few who can sing beautifully, understand and then become such varied characters, bringing the audience along, with such grace and conviction as those in A Lone Star Christmas Carol.

Gary Moody, as Narrator, walked in and out of scenes, cane in hand, with an Our Town, Mark Twain or Waltons feeling. He was the Everyman in this story. His small role as Tiny Tim was played with childlike sincerity without being childish. Burl Proctor got to be Big Bad Scrooge, dramatically entering through the double doors decked all in black from his hat and duster coat to his boots. Instead of sleeping gown and night cap, Scrooge traveled through time in an old, wrinkled navy bathrobe.

Looking similar to a younger Kenny Rogers, Proctor played Scrooge low key with subtle discontentment and resentment rather than over-the-top grouchy like a certain Jim Carrey. His songs wonderfully aided him in that subtle depth. Rather than one who only at the end sees the error of his ways, this Scrooge was introspective and questioning throughout. Proctor had a dusky quality to his voice, suited to the role.

The remaining four actors/singers took on the majority of the characters and transitioned from large role to small part, from comedic to dramatic with no hesitation and complete sincerity. Jeff McGee was having a blast with each character, giving great comedy to Marley's Ghost. He added a little evangelical preacher showmanship to his song as Old Joe making him that much "scarier." Rachel Rice gave such tenderness to Belle with her musical ingénue beauty and amazing lyrical voice.

John Venable might just as well head for the country music circuit with his rich singing style. He handled both Fred, Scrooge's nephew, and young Scrooge with clear understanding of the vast difference. Most of the female comic roles were rightfully given to Heatherton Hardy Wilson and she gave memorable quality to each. She switched from Minnie Pearl sweet to Carol Burnett daffy brilliantly -- and then took on the more serious parts with competence.

It was a delight to actually see the musicians onstage in a musical rather than in the pit. Gary Taylor played lead guitar, Charles Crawford played guitar and Rick Norman played bass, as in upright. It was enjoyable watching them play small parts as needed and, again, it simply did not matter, the story was that compelling. The music and songs were of such surprising quality they could compete at the CMA Awards or go into stores as Christmas classics. Both Garys had such an understanding of the deeper layer in each character and the lyrics enriched them far beyond Dickens' original words.

Robinson took the talents of each person and simply allowed them to shine. No set, no props, no staging got in the way of showcasing such quality performances and they made it look easy – that is the mark of good direction.

Bill Newberry's set and Cathy O'Neal's props were basic browns and beiges and completely appropriate for the show. Costumer Drenda Lewis provided the rich colors and muted plaids that so perfectly highlighted each actor and character. Sound designer David H.M. Lambert recreated the most important striking of the clock and Texas blue northern wind and sent chills with the ominous voice of Christmas Past. Even more basic was John Leach's light design. His use of solid colors illuminating the back scrim and eerily bleeding through the barn wall reflected the emotion of each scene and, to us, a single string of Christmas lights became the stars.

As Tiny Tim called out "God bless us everyone" and the band struck up the finale, we were all clapping and foot tapping and, not wanting it to end, they played a little more to lead us out.

So ... am I a country western music convert? Well, no, but ask if I had a darn good time and it's a resounding yes. Great music, great singing and great acting can do that for you. Smiles were bountiful and the music was hummable. (Small unsolicited plug – you can take home the CD just like on Broadway!)

Circle Theatre's space is modern, warm and inviting. A Lone Star Christmas Carol is an old story made modern and as equally warm and inviting. In Dickens' own words, it will allow you to "keep Christmas (and the holidays) well." Find your way on over and grab some holiday spirit. You wouldn't want to be a Scrooge now, would you?!

What do you think?