Charles Dickens’ most famous Christmas novel, adapted for musical theater by Melina Pellicano with music by Stefano Lori and Marco Caselle, is ready to make adults and children dream. On stage as Ebenezer Scrooge, Fabrizio Rizzolo and an artistic cast of more than 20 elements, special effects curated by Alessandro Marrazzo, original music, 150 costumes and impressive sets.
Melina Pellicano, director and author of the libretto in the adaptation to the musical, wanted to be as faithful as possible to the novel, because Dickens’ writing shows itself to be very theatrical.
Old Ebenezer Scrooge, after the death of his business partner Jacob Marley, continues to conduct his bank of business with cynical avarice by shunning all human relations and starving his hapless employee Bob Cratchit. Scrooge hates Christmas and not even his nephew’s invitation to dinner can change his mind. On Christmas Eve he is visited by the ghost of his late partner Jacob Marley who announces the visit of three spirits. The spirit of Christmases past shows him the mistakes of his past life, the spirit of Christmases present shows him the happiness that Christmas generates, and the spirit of Christmases to come shows him his horrible fate should he not change the life he now leads. After the visit of the spirits, Scrooge wakes up on Christmas morning profoundly changed in soul, finally opening his eyes to feelings of generosity and love. From now on, he will never fail to celebrate Christmas and miss any opportunity to do good.
Scrooge makes a transformation, a major change on Christmas Eve. Christmas can be an occasion when we can stop and reflect, a time to pose purposefully toward change. It becomes an opportunity for a courageous act of transformation, which each of us would like to do but often forget. Director’s Notes
Scrooge’s loneliness and his economic wealth are contrasted with the serenity of his family and the modest social situation of the other characters.
Wealth of spirit and the courage to cope with an uncomfortable situation are the real wealth. It is an old concept, but absolutely relevant today. “There is some difference in the story and the characters,” says the director, “but always in keeping with the original tale and in the spirit of Dickens. This was intentional and is a small personal way to pay homage to the writer. I chose to open the show with the monologue and song of Tiny Tim (the young son of Bob Cratchit, Scrooge’s employee), to entrust a child with the task of explaining “how things really are,” to explain to the audience the point of view of a child who looks at the world with clear eyes and without judgment. Tiny Tim tells, in fact, that Scrooge “is incapable of smiling and is always angry with anyone who speaks to him,” but that in reality “he is only ‘lonely’ and no one should be alone at Christmas.”

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