Behind the Scenes Moms Part 2: Christmas Carol 1941

posted by Anne Harrison

When I told my son, C.J., that he had received an offer to join the cast of Christmas Carol 1941 (CC41), he stared at me in disbelief to be sure that he’d heard correctly and then became really excited. While I began clearing our schedule for the upcoming three months, C.J. was more interested in things from a twelve-year old’s perspective: “I hope I have a fun part in the show!”  “Can we ride Metro to rehearsals?”  “Awesome - now I can’t get my braces until January!” “When can I see the script?” C.J. has been performing in regional theater since first grade, but being offered a job at the venerable Arena Stage put his love of acting in a whole new perspective. C.J. portrays three characters; he’s a delivery boy, Young Strube, and a boy in the town.

Arena gave me permission to accompany C.J. throughout the theater, and it’s been a wonderful experience. Our first day began with a meet-and-greet, where some patrons of Arena Stage and the people involved with the show enjoyed snacks and had an opportunity to talk with one another in the lobby. We met one very gracious couple and learned of the work they are doing to improve conditions for people in South Africa. That’s when I began to realize that CC41 was going to provide C.J., who is homeschooled, with much more than just some additional acting experience; it’s a terrific opportunity to expand his view of the world. 

After the meet-and-greet, we were all ushered into the theater where Molly Smith, the director, introduced various people involved with the show. She explained the historical concepts behind CC41 and gave us her vision for the play. James Magruder, the playwright, told of some of the personal connections that he’s written into the show. In these days where so many people are interested in genealogy and capturing oral histories, it was touching to hear of how he had chosen to honor the good relationships he’s had with his relatives. The meet-and-greet ended with displays of a model stage set and costume sketches. C.J. was particularly captivated by the miniature model of the set, which includes moving elevators and a bi-level floor.

Next, we went downstairs for a read-through (the cast members read the script aloud) and many cast members were already adding voice inflections and body language to their lines. It was fascinating to hear the script coming to life at such an early stage. C.J. was a little quieter than usual, but he was comfortable asking questions and was treated with respect so it was obvious that he’d be fine. 

Rehearsals on various scenes began the next day, and it’s been a whirlwind ever since. Arena’s staff has been fantastic, giving C.J. specific instructions while shielding him from adult pressures. C.J. understands that everyone involved with the show is working hard and that they expect him to work hard, too. Although he has few lines, his scenes help explain the mature Strube’s perspective on life, and C.J. has worked hard to portray the appropriate moods. The cast and crew are very friendly, giving C.J. a cheerful greeting when they see him and checking with me to be sure that he’s not getting overwhelmed. The children are not double-cast, and they don’t have understudies, but they each have a stand-in. C.J.’s stand-in is Madeleine Carr, a talented dancer and teacher. When C.J. is at a rehearsal, Madeleine works with him to ensure that he is learning his parts. When C.J. is excused to do schoolwork, Madeleine takes his place in the cast and later she teaches him the new instructions or changes in blocking (stage position). 

Rehearsals haven’t been all work, though. The cast was taken on a field trip to view the statues that come to life in the show, and to learn about the era’s Bonus Marchers from the curator of a local exhibit; these helped C.J. understand what his characters are feeling, and he frequently asks me to drive by the statues on our way home from rehearsal so that he can be silly and wave to them. We’ve decided to work that era into our homeschool studies. He enjoyed snow cones and a visit with Santa in Arena’s lobby, where the cast made reindeer hats with some members of the public. There are also plenty of times during rehearsals when C.J. is not in a current scene, but is able to observe the actors and the production staff working together to change just a few words, accents, or movements, and therefore change the entire tone of a scene; their skill is that amazing. C.J. has also noticed the respect the actors and staff use with each other and their quick apologies to each other when a scene doesn’t go as smoothly as hoped. It’s been good for him to see very talented actors remain humble and hard-working, and to see everyone working together for the same goal; I hope he carries their examples with him to whatever career he chooses. 

Various staff members have laughed with C.J. at his costume fittings, given him a haircut, suggested ways to add human qualities to his characters, ensured his safety around the moving parts of the stage, offered him snacks, taught him the music, and more – they’ve worked hard to help him enjoy this while being prepared and comfortable. Although C.J.’s characters aren’t in the upbeat swing dancing scene and C.J. didn’t learn that dance in the early rehearsals, Parker Esse (the choreographer) taught him the dance steps so that he can join in on the finale, and Madeleine and some men in the cast helped C.J. practice so that he’d be up to speed by the time the show opens. C.J. now dances his way around the house constantly, singing songs from the show and making up new verses for various situations.   

As we headed home recently after a long day, I asked C.J. how he was feeling. His reply: “It will be great to be in front of a live audience again!”  That’s a great testament to everyone who’s ushered him through this process. Enjoy the show; I know we will!