A Christmas Carol....why?
It is proposed that the Concept Players create a new work based on Charles Dickens' classic, A Christmas Carol, with music based on the works of Sir Arthur Sullivan. The rest of this section describes the reasons why the group has chosen this particular adaptation, how the project will fulfil the Lottery's requirements for revenue funding, and the scope of the project as a whole. A Christmas Carol - why? There are several factors which conspire to make this choice.
1 Firstly, we were concerned that an original work, with a title that no-one knew would adversely affect audience figures to the extent that while the project might be an artistic success, it would prove a demoralising failure because of the lack of tickets sold. As an amateur group, we are very aware of the fundamentally different character of the amateur show, compared with the professional. Without an audience, and preferably an appreciative one, the amateur show can be a dire affair. This, coupled with a very real awareness of the effects of a financial loss, however funded, has had the effect of steering us away from the totally unknown, and towards using a well-known name, in an attempt to encourage audiences to attend.
2 We decided that we were more likely to attract audiences with shows that included children in some way, since it appears from experience that the success of shows like Oliver and Annie depend less on the standard of performance than the appeal of the children.
3 We felt that as a group we were ignoring the potential Christmas audience. One solution was to consider a pantomime, but we felt that such a vehicle would not have enduring appeal, and we should shelve the idea for a later date.
4 The choice of subject had to complement the group's strengths: we have a reputation for being able to put on Gilbert and Sullivan operettas, and to field a cast with strength and depth. To give a simple example, when we put on Pirates of Penzance, two of the members of what would normally be called the chorus have previously played the part of the Major General, and the principal soprano from our production of HMS Pinafore, played an un-named daughter. It is a credit to the members that we do not distinguish between these two categories, and that playing a leading part in one show and sweeping the stage for the next are not incompatible. The group's acting and singing talent are admired by other companies, and it is to these strengths, as well as to this concept of everyone playing a principal part of whatever size, that we decided to play. Taking these factors into account, we felt that Charles Dickens' A Christmas Carol would prove a suitable vehicle for the dramatic elements we have described, and that to turn it into an operetta using Sir Arthur Sullivan's music would satisfy the musical elements. We also considered that if the work could survive the numerous versions from Mickey Mouse to the Muppets and Bill Murray, then the Concept Players could hardly damage it irreparably! It should be noted that we do not at this point intend to create a comic version of the work, but rather have returned to the original version to create an atmospheric and dramatic interpretation. By carrying out this project, we feel that we will be stretching not only the members, by requiring them to interpret a completely new set of roles, with music drawn from a large section of Sullivan's canon, but also the initiators of the project who will be required to write the script, and choose the musical sources, altering them to suit the dramatic context of the story, and arranging them for the various musical resources which we will describe later in the document. The membership of the Concept Players has remained very much as it was when we applied for our first grant, in that there is a substantial contingent of young people, all of whom will be involved in the performance of the work. In addition, we will require several youngsters to play the parts of the Cratchett children, and in particularly, Tiny Tim. In summary, we feel that this combination moves some way to achieving the Lottery requirements on development of skills and creative talent.
Associated activities
As well as the creation of the work, there are several other activities which come under
the umbrella of the total project.
1 Touring performances
2 Availability of the work for other groups
3 Video diary
4 Brass/wind ensemble
Touring performances
We anticipate that the initial run of 16 performances will take place around Christmas
1998, and will tour to various venues around South East Wales. The performances will take
place in 6 different venues, and will be performed using a version of the show arranged
for the small ensemble of instruments already available to us. In this way, the potential
audience for the work will be increased, and the possibility of playing small venues as
well as the larger ones will allow audiences other than those who would normally attend
such performances. A complete arrangement, scored for orchestra will be available for
others with larger theatres and budgets than ours. Availability of the work for other
groups As well as the full score, arranging the piece for synthesiser(s) will allow a
version to made available to other groups who may wish to take advantage of the lottery
funded work. It is intended that a written arrangement and associated MIDI files will be
available. The MIDI version will allow groups to rehearse without the costs of a rehearsal
accompanist if they so wish. It is intended that the work be marketed to other groups
through the National Operatic and Dramatic association (NODA), as well as the Welsh
Amateur Music Federation. In this way, participation will be encouraged through other
groups. Video Diary We would wish to encourage a video club to take on the activity of
making a video diary of the development of the project through all its phases with a view
to creating a documentary which could be used subsequently to promote the lottery's
activities in funding such works. Inviting another group to do the filming would again
increase participation in the project, and further the lottery's objective of increased
participation. We have held initial discussions with one such group, who were enthusiastic
about the idea as a means of expanding their skills and experience. Brass & Wind
ensemble As part of the performance, it is planned that a small brass band be utilised on
stage for the carol singing sequence, and Tiny Tim's funeral (Sullivan wrote It came upon
a midnight clear and Onward Christian Soldiers among many other hymn tunes). The scene at
Fezziwig's Party would involve the use of an on-stage wind ensemble throughout. We intend
that these groups be drawn from young amateur musicians through various contacts of the
Concept Players. This involvement would again increase participation by other groups, and
would enable them to experience the thrill of participating in an operetta.