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A CHRISTMAS CAROL -
A GHOST STORY OF CHRISTMAS 
CREATIVE TEAM


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MICHAEL WILSON (Original Direction & Adaptor)’s version of A Christmas Carol premiered at the Alley in 1990 featuring the luminous Bettye Fitzpatrick as the Ghost of Christmas Past. This season marks his adaptation’s 17th year at the Alley, its 15th year at Hartford Stage (where he was Artistic Director from 1998 to 2011), and its ninth year at Ford’s Theatre. Dramatists Play Service published the adaptation in 2009. He has directed over 20 productions for the Alley, including last season’s Horton Foote’s Dividing the Estate and Elizabeth Egloff’s Ether Dome. In 1995, he directed the Alley Company in Tony Kushner’s Angels in America Parts I & II, which toured to the Venice Biennale. In 2010, he received Drama Desk and Outer Critics Awards for his direction of Foote’s three-part, nine-hour epic The Orphans’ Home Cycle. On Broadway, he has directed the Tony-nominated Gore Vidal’s The Best Man, Dividing the Estate, and Enchanted April, as well as the revival of John Van Druten’s Old Acquaintance. His Off-Broadway credits include Jane Anderson’s Defying Gravity, Eve Ensler’s Necessary Targets, Foote’s The Carpetbagger’s Children (a transfer of the Alley’s premiere production) and The Day Emily Married, Chris Shinn’s Picked and What Didn’t Happen, and Tennessee Williams’ The Red Devil Battery Sign and The Milk Train Doesn’t Stop Here Anymore. He is a Morehead scholar graduate of UNC-Chapel Hill, where he trained with his longtime collaborator, Alley Artistic Director Gregory Boyd.

JAMES BLACK (Director) is proud to be celebrating his 25th consecutive season at the Alley Theatre where as an actor and occasional director, he has been involved in over 100 productions. Recent appearances include Black Coffee (Hercule Poirot), Noises Off (Lloyd Dallas), The Seafarer (James “Sharky” Harkin), The Seagull (Trigorin), Dividing the Estate (Lewis Gordon), Pygmalion (Colonel Pickering), Amadeus (Count Orsini-Rosenberg), August: Osage County (Steve Heidebrecht), Peter Pan (Captain Hook/Mr. Darling), St. Nicholas, Boeing-Boeing (Bernard), Harvey (Elwood P. Dowd), Mrs. Mannerly (Jeffrey), Our Town (Stage Manager), The Farnsworth Invention, Rock ‘n’ Roll (Max), The Man Who Came to Dinner (Sheridan Whiteside), A Christmas Carol (Mrs. Dilber/ Jacob Marley), Cyrano de Bergerac (Le Bret), Othello (Iago), Arsenic and Old Lace (Jonathan Brewster), Treasure Island (Long John Silver), Hitchcock Blonde (Hitch), A Moon for the Misbegotten (James Tyrone Jr.), Orson’s Shadow (Olivier), Journey’s End (Lieutenant Osborne), A Christmas Carol (Scrooge), The Crucible (Proctor), After the Fall (Quentin), A Funny Thing Happened on the Way to the Forum (Marcus Lycus), Twelfth Night (Sir Toby Belch), Sherlock Holmes (Moriarty), Hamlet (Claudius), Who’s Afraid of Virginia Woolf? (George), One Flew over the Cuckoo’s Nest (McMurphy), How I Learned to Drive (Uncle Peck), A View From the Bridge (Eddie Carbone), and Not About Nightingales (Butch O’Fallon) among others. He has also directed A Behanding in Spokane, Doubt, Death on the Nile, Glengarry Glen Ross, Deathtrap, Dial “M” for Murder, Our Lady of 121st Street, The Foreigner, Of Mice and Men and As Bees in Honey Drown. His film and television credits include Olympia, The Man with the Perfect Swing, Houston: The Legend of Texas, Fire and Rain, Challenger, Night Game, and Killing in a Small Town. He received a Theatre World Award for Outstanding Broadway Debut and a Drama Desk nomination for Best Actor for Not About Nightingales, and a BackStage West Garland Award for his appearance as Eddie Carbone in the Alley’s production of A View from the Bridge.

TONY STRAIGES (Scenic Design) Alley Theatre credits include The Heiress, Angel Street, A Flea in Her Ear, Who’s Afraid of Virginia Woolf?, The Importance of Being Earnest, Angels in America, Slavs and Dancing at Lughnasa. His Broadway credits include Enchanted April, Golden Child, Artist Descending a Staircase, Rumors, Into the Woods (Tony Award), Sunday in the Park with George and Timbuktu!. He designed Noises Off and Chick, the Great Osram at Hartford Stage; and Tis a Pity She’s a Whore and Arsenic and Old Lace at Centerstage. He has designed Gypsy directed by Lonny Price (Chicago Ravinia Festival), Summer and Smoke directed by Michael Wilson (Hartford Stage Company) and Meet Me in St. Louis directed by Charlotte Moore (Irish Repertory Theatre.). He has designed for American Ballet Theatre, Joffrey Ballet, Royal Swedish Ballet and Pacific Northwest Ballet. Design models and sketches of his work are included in the Tobin Theatre Collection at the McNay Art Museum (San Antonio), the Lawrence and Lee Research Institute at Ohio State University, the Lincoln Center for the Performing Arts Library (New York City) and the Harvard Theatre Collection at Harvard University.

ALEJO VIETTI (Costume Design) recently designed the Alley Theatre productions of Noises Off, What We’re Up Against, The Seagull, Pygmalion, August: Osage County, The 39 Steps, Our Town, Rock ‘n’ Roll, Mauritius, Eurydice, and Cyrano de Bergerac. Other Alley Theatre productions include The Unexpected Guest, Othello, The Scene, Death on the Nile, Tryst (for the 60th anniversary season of the Neuhaus Stage), A Christmas Carol and Bad Dates. New York: Stephen Schwartz’ Séance on a Wet Afternoon at NYC Opera, Old Jews Telling Jokes, Atlantic Theatre’s Storefront Church, Secrets of the Trade, MTC’s Nightingale and MCC’s Grace both starring Lynn Redgrave, Manipulation, Rooms, William Finn’s Make Me a Song, Tryst, Roulette, The Last Sunday in June, 16 Wounded, 2 X Tennessee, The Wau Wau Sisters, Servicemen (directed by Sean Mathias), Waiting for Godot, Love’s Labour’s Lost, Measure for Measure and Othello among others. Regional: Arena Stage, Arizona Theatre Company, Asolo Repertory Theatre, Barrington Stage Company, Cincinnati Playhouse, Cleveland Play House, Colorado Ballet, Columbia University, Florida Stage, Ford’s Theatre Washington D.C., Goodspeed Opera, Guthrie Theatre, Hartford Stage, Longwharf Theatre, Minnesota Opera, New York Stage and Film, Northlight Theatre, Old Globe Theatre, Pasadena Playhouse, Philadelphia Theatre Company, Pittsburgh Public Theater, Rockland Opera, Opera Santa Barbara, Saint Louis Repertory Theatre, Signature Theatre Washington, Theatreworks Hartford, Westport Country Playhouse, Williamstown Theatre Festival. International: The Edinburgh Festival Fringe and the Donetsk Opera in the Ukraine. Ringling Brothers Barnum & Bailey Gold Unit 07/09. He is the recipient of the 2010 TDF/Irene Sharaff Young Master Award.

RUI RITA (Lighting Design) has designed Alley productions for the past 16 years. His recent Alley credits include The Seafarer, Dividing the Estate, Pygmalion, The 39 Steps, Sherlock Holmes and the Crucifer of Blood, Eurydice, A Christmas Carol, Cyrano de Bergerac, To Kill a Mockingbird, Sherlock Holmes, The Trip to Bountiful, The Invention of Love, The Carpetbagger’s Children, and Dinner with Friends, among others. On Broadway his designs include Present Laughter, Dividing the Estate, Old Acquaintance, Enchanted April and The Price. His Off-Broadway credits include the premieres of Horton Foote’s The Orphans’ Home Cycle (for Signature Theatre); Big Bill, The Carpetbagger’s Children, Far East, and Ancestral Voices (all for Lincoln Center Theatre); Moonlight and Magnolias (for Manhattan Theatre Club); Endpapers and Dinner with Friends (both at Variety Arts Theatre); Dividing the Estate and The Day Emily Married (Primary Stages); as well as productions of The Milk Train Doesn’t Stop Here Anymore (recently at Roundabout Theatre); Crimes of the Heart (Second Stage); and Antony and Cleopatra (New York Shakespeare Festival). He has also designed productions at numerous regional theatres including the American Conservatory Theatre, CenterStage, Ford’s Theatre, Hartford Stage, Huntington Theatre, Long Wharf Theatre, Mark Taper Forum, Old Globe Theatre, Vancouver Opera, Westport Playhouse and The Williamstown Theatre Festival.

JOHN GROMADA (Original Music and Sound Design) created original music and/or sound design for the Alley productions of Dividing the Estate, Ether Dome, Our Town, Treasure Island, Subject to Fits, A Christmas Carol, Witness for the Prosecution, Journey’s End, The Pillowman, Be My Baby, Hapgood, Leading Ladies, The Greeks, The Trip to Bountiful, Proof, Angels in America, The Carptetbagger’s Children, The Glass Menagerie, A Streetcar Named Desire and The Baltimore Waltz. He has scored and/or designed more than 30 Broadway productions including The Best Man, Clybourne Park, The Columnist, Seminar, Next Fall, Man and Boy, A Bronx Tale, Prelude to a Kiss, Dividing the Estate, Rabbit Hole, Well, A Streetcar Named Desire, Sight Unseen, Twelve Angry Men, Proof, The Retreat From Moscow, Summer and Smoke, Holiday and A Few Good Men. For New York’s Public Theatre he has composed scores for the Shakespeare in the Park productions of Measure for Measure, Henry V, Julius Caesar, Tartuffe, and also The Skriker, Machinal, and The Swan. Other recent New York credits include By The Way Meet Vera Stark, The Milk Train Doesn’t Stop Here Anymore, Shipwrecked!, Clybourne Park, The Screwtape Letters and The Singing Forest. His new score and main theme for the series, ‘The Interrogators” can be heard on the Biography Channel .He has been awarded the Lucille Lortel Award, three Drama Desk Awards, The Henry Hewes Award, an Obie Award, an NEA Opera/Music Theatre fellowship, an L.A.Drama Logue Award, the EDDY, and the Connecticut Critics Circle Award. Music from this show and others available at www.johngromada.com.

HOPE CLARKE (Choreographer) Alley Theatre’s A Christmas Carol since 2005.Broadway credits include Tony Kushner’s Caroline, or Change; The Caucasian Chalk Circle; The Tempest (also done in Central Park); West Side Story; Grind; Don’t Bother Me I Can’t Cope; Purlie; and Hallelujah, Baby!, while Off-Broadway credits include The Reckoning; House of Flowers; One Last Look; Othello; A Raisin in the Sun, and Dark of the Moon. As a director her work includes In Gathering at Duke Theater Showcase and Hallelujah, Baby! for the Multi Series at York Theatre. Her regional theatre work includes Porgy & Bess for Dallas Opera; The Learned Ladies of Park Avenue; Rough Crossing; A Christmas Carol – A Ghost Story of Christmas; …Love, Langston; The Colored Museum and Spunk for Hartford Stage; South Pacific and Mack and Mabel for Barrington Stage and Pioneer Theatre; Amistad for Lyric Opera; and The Tempest for Delacourte Theatre. As a dancer, she was soloist for the Katherine Dunham Company, Talley Beatty and Louis Johnson; she was a Principal Dancer for Alvin Ailey American Dance Theatre and most recently she danced with the Paradigm Dance Company – a company of mature artists. Her television appearances include New York Undercover and Law & Order. She received a Tony nomination (Best Choreography), as well as a Drama-Logue Award, Joseph Calloway Award and the NAACP Image award for best choreography for Jelly’s Last Jam. She was the first black director and choreographer to do a major tour of Porgy & Bess and the Dance Jazz version for Dallas Black Theatre.

TERRY CRANSHAW (Production Stage Manager) has worked at the Alley Theatre on Black Coffee, What We’re Up Against, Red, The Toxic Avenger, The Monster at the Door, August: Osage County, Peter Pan, St. Nicholas, Intelligence-Slave, The 39 Steps, Wonderland, Our Town, The Farnsworth Invention, Mauritius, Eurydice, The Gershwins’ An American in Paris, Love, Janis, Doubt, Treasure Island, Hitchcock Blonde, A Christmas Carol, The Pillowman, Steel Magnolias, Bad Dates, Our Lady of 121st Street and numerous other Alley productions. Her additional credits include 42nd Street (European tour), Jekyll & Hyde (directed by Gregory Boyd) and Mame (national tour). Cranshaw has worked with Houston’s Theatre Under The Stars (36 productions), and many regional theatres including the Cleveland Play House, The Shakespeare (Washington D.C.), The Ordway (St. Paul), and The Fifth Avenue Theatre (Seattle). She was Production Stage Manager for the NFL Alumni Player of the Year Awards for Super Bowl XXXVIII.

BRETT ANDERS (Assistant Stage Manager) recently served as assistant stage manager on Death of a Salesman and Black Coffee. He has worked as a production assistant at the Alley Theatre for the past three seasons. Previously he worked at Perseverance Theatre, The Dallas Opera, apprenticed at The Santa Fe Opera, and interned at Kanuti Gildi SAAL in Tallinn, Estonia. BFA from Ohio Northern University.

REBECCA R. D. HAMLIN (Assistant Stage Manager) has been with the Alley Theatre since 1999, most recently as Stage Manager for A Behanding in Spokane and Assistant Stage Manager for Noises Off, The Seafarer, Red, A Christmas Carol, Pygmalion, Amadeus, August: Osage County, The Mousetrap, Boeing-Boeing, Harvey, The 39 Steps, Our Town, Sherlock Holmes and The Crucifer of Blood, The Farnsworth Invention, Mauritius, The Man Who Came to Dinner and Cyrano de Bergerac. She has also served as Stage Manager at Houston’s Main Street Theatre & for The Houston Shakespeare Festival. Becky is a proud member of Actors’ Equity Association.

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