“Scrooge in Rouge” a Tour de Force

The Department of Theatre and Dance presented Scrooge in Rouge: An English Music Hall Christmas Carol from Dec. 5-7, 2019. The cast of five was under the direction of Mr. Darrell Rushton. Those that attended were thrust into a Victorian-era music hall and cabaret where dirty jokes are celebrated, booze is encouraged, and 90 minutes passes by faster than it ever has before.

The three principle cast members, played by Grace La Count, Kasey Taylor, and Christian Scott, open the show with an admission that the rest of their cast of 20 have fallen ill with “food poisoning” and that they’ll be carrying on alone. Fans of the classic Charles Dickens A Christmas Carol were likely scratching their heads as to how these three would pull it off, but as we would soon find out, the task was more than manageable for this ensemble. With wit, hilarity, and obscenity, the troupe loosely fumbles through the tale of Ebeneezer Scrooge. By the end, the audience was less sure about the meaning of Christmas, but plenty entertained.

Grace La Count, a first-year student, played Vesta and served as a captivating Scrooge, among many other characters. During one particular quick-change, La

Count exited the stage as a convincing miser, returned a docile maid, only to run backstage yet again and return as yet some other character. Her sensibilities and ability to read the audience allowed for laughter to spill throughout the room time, and time again.

Kasey Taylor, a transfer student who most recently performed in Alabama Story, is a natural comedienne. As the vampy and voluptuous Lottie, she had the crowd handing her dollar bills by the third song. Taylor’s character acting and effortless smile, while a centerpiece of the show, paled in comparison to her vivacious singing.

Christian Scott, a junior who was recently featured in Dear Edwina, was perhaps the most adaptable of the cast and wore no less than three wings as three different women, before the musical was over. Scott’s performance, brave and charismatic, was somewhat improvisational. Indeed, when audience members with tears in the eyes from laughter called out to Scott, “You’re doing great, sweetie,” he responded with a new joke, somehow funnier than the one before it.

Unlike many shows where a single actor dominates the story or plays the lead, Scrooge in Rouge is a true ensemble piece. In fact, just when I thought one of the actors would steal the show with a bit or a song, another would do something so funny and so outrageous that I would pick a new favorite. On and on this went, until I realized how equally brilliant these three young actors are. As a perfectly harmonious trio, so genuinely in sync, La Count, Taylor, and Scott could not be outdone.

Darrell Rushton agreed over an intermission drink, “I had to cast these three together because all through auditions and call-backs, every time they worked together, they grew more and more into an ensemble.”

Brian Records, another first-year, played the annoyed foley with such charm that he never even had to smile for the audience to fall in love with him. Records was also the primary understudy, played the drums, and sang in the show. It makes you wonder; is there a talent that Brian Records doesn’t possess?

Kelly Schrecengost, the Music Director, also played Alice the Piano Player and delivered one perfectly British line when asked why she couldn’t come and help the actors on the stage; “I’ve got my union-mandated tea break.”

The production team, led by junior Rose Walters, was similarly flawless in their execution of the technical elements. Master carpenter Grace Easterday built an incredible jester-themed set which was designed by Phillip Schroeder and jutted out into the cabaret-style seating arrangement. Xander Mulder, master electrician, had the distinct challenge of turning the Lyric Theatre into a fully operational space and did so with flare, under the direction of lighting designer George Georgeson. Finally, Ryan Compton’s decision as sound designer to feature live sound, alongside costume designer Nicholas Partenon’s lush Victorian gowns, were the icing on the

production’s cake.

The show, which was on overflow seating on Friday and Sunday, and standing-room-only on Saturday was the jewel of this season of performing arts at FSU. Moreover, the number of first- and second-year students who were featured players both on stage and as crew members seems to all but ensure a bright future for the Department of Theatre and Dance.

The Department will open its Spring 2020 season with The Whipping Man, directed by Mairzy Yost-Rushton from Feb. 28-March 7. For more information, visit www.frostburg.edu/theatredance.