“ I ’ m relieved to be able to get back into the theater ,” says Trinity Rep ’ s Joe Wilson Jr ., who is directing the company ’ s fortyfourth production of A Christmas Carol . “ It will be an emotional experience for us when we are in front of an audience for the first time . I am going to stand out of way of the work , and create something joyous and reflective that allows us to mourn our losses . But ultimately , this is a celebratory production that reminds us what the season is about : Renewing our commitment to our fellow man .”
Last year was a lesson in fragility , says Jenny Thomas , spokesperson for the Association of Performing Arts Professionals , which represents 1,600 performers and live arts organizations .
“ We had no conception that this could bring us to our knees as a nation and as an industry that runs on tight margins and long hours and requires community support ,” she says . “ But by our nature we are resilient and adaptive . Some put everything on hold . Many , many went to livestreaming .”
“ Ultimately , this is a celebratory production that reminds us what the season is about : Renewing our commitment to our fellow man .”
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The technical challenges were substantial ; there was a sudden need for sound engineers and videographers , recording equipment , drones . Performers had to adjust their craft accordingly . Lynsey Ford , who has played multiple roles in the Gamm ’ s live radio broadcast of It ’ s a Wonderful Life , tacked blankets to her apartment walls to turn it into a sound booth . The Chorus of Westerly , with about 100 synced singers , opted for a video for its YouTube channel .
“ It ’ s like having 150 puzzle pieces that you have to put together ,” says Ryan Saunders , executive director . “ One person might hold the note a beat longer or someone might be out of tune . It requires a lot of patience ; a three- to four-minute video takes hundreds of hours .”
Trinity Rep shot A Christmas Carol on a pastiche of sets that included their stage ,
28 RHODE ISLAND MONTHLY l DECEMBER 2021