‘A Christmas Carol: A Ghost Story of Christmas’
Through Dec. 29
Olney Theatre Centre
2001 Olney-Sandy Spring Road, Olney, MD
$51-$86
Olneytheatre.org

In an unmistakably husky voice, Elizabeth Ashley once told me, “When asked to help a friend, you don’t dick around.” The ever-candid actor was referring to when she replaced an unwell Dixie Carter in the 2010 Shakespeare Theatre Company’s production of “Mrs. Warren’s Profession.”  

Similarly, when celebrated local actor Michael Russotto was more recently asked to cover for colleague and friend Paul Morella in Olney Theatre Center’s unique version of Charles Dickens’s “A Christmas Carol: A Ghost Story of Christmas,” he didn’t hesitate. 

When first asked to stand in for Morella (who experienced a health event earlier this fall that has prevented him from performing over the holiday season), Russotto knew this wasn’t just any part. Faithfully conceived by Morella, this “A Christmas Carol” is a one-man show and a beloved Olney tradition, requiring the actor to portray more than 50 characters, ranging from miserly Scrooge to Tiny Tim. 

“Of course, my immediate instinct was to help out, but then the panic set in. Suddenly I was faced with a daunting new role as well as a condensed rehearsal period,” says Russotto, 64. “There’s no magic to learning a dense piece of material. However, I would suggest the first thing is to break it up into chunks. And it’s important to remain calm, otherwise you’ll run out of the room screaming.” 

Though he’s tackled some wordy two handers over the years, Olney’s “Carol” is Russotto’s first solo show. From the start, he recognized the size of the job, knowing from experience that there’s no substitution for the grind of sitting with the formidable script for hours and hours and do the memorizing and more memorizing.

Fortunately for him, it hasn’t been unpleasant. For starters, Russotto likes the story. “It’s a journey of redemption. And with its themes of greed and what goes with that, it’s a marvelous parable for the moment, especially for those of us who live in a capitalist society.” 

Also, as a big fan of 19th century literature, Russotto was already fond of Dickens and his Christmas tale. Published in December of 1843, it fits right in with what the actor likes: “I like the parentheticals, its ins and outs, and the curlicues.” 

Along with decades of terrific work on the D.C. stage, Russotto has narrated hundreds of audio books for Books on Tape and The Library of Congress. He says, “I’m often called on to narrate works from this era whether they be murder mysteries, or whatever. They’ll hand it to me, and that’s just fine.” 

How might a show built by Morella who’s straight be different when played by out actor Russotto?

“I’d say that being gay gives me a special perspective in that it affords me an unusual empathy with some of the characters and perhaps leads me to portray some of them in more of a rainbow light than they might otherwise be portrayed.” 

And Russotto, who lives with his longtime partner in Adams Morgan, readily confesses to having a crush on the Ghost of Christmas Present who’s often portrayed as a bearded, bare-chested Dionysian sexpot. 

However, reading aloud into a microphone is one thing, but to memorize and perform alone on stage at Olney’s Mulitz-Gudelsky Theatre Lab is something else. 

Playing Scrooge and company wasn’t something he had previously imagined doing. Still, he’s found joy in voicing the novella’s many characters: “I especially love the three ghosts; the gentlemen who come and try to solicit for the poor and the ruffians who show up at the end of the play.”

In taking on Dickens solo, Russotto now finds himself in the company of some illustrious queers including Eddie Izzard who did “Dickens’ Great Expectations” in New York, and BAFTA award winning actor and fearless activist Miriam Margolyes who has successfully toured with her one woman hit show “Dickens’ Women.” 

Actors are advised to challenge themselves now and them. It’s considered important to do something that you’re a little terrified of doing, push yourself a little bit. Well, this job is checking all of those boxes, he says. 

And after the show’s run ends? How does an actor unwind from this? 

Without hesitation, Russotto replies, “I’ll be having a big martini. And maybe we’ll make more of New Year’s in a way that we don’t usually do. That’s what I’m thinking.”

‘Finn’
Through Dec. 22
The Kennedy Center
2700 F St. N.W., Washington, DC 20566
Tickets starting at $22
Kennedy-center.org

Acclaimed children’s television screenwriter and producer Chris Nee is currently making her theater debut at the Kennedy Center with “Finn,” her heartwarming musical about a young shark who dreams of following in his family’s footsteps by joining the prestigious Shark Guard and the challenges and moments of self-discovery he faces along the way. 

Los Angeles-based Nee, who is gay, is best known for being the creator of the hugely popular Disney animated series “Doc McStuffins” (the first Disney show to air an episode featuring an interracial lesbian couple) as well as other kids’ shows “Ridley Jones” and “Vampirina.”  

For “Finn,” Nee (playwright/lyrics) has collaborated with stage and screen songwriters Michael Kooman (music) and Christopher Dimond (playwright/lyrics) who have scored her animated TV shows for seven years.

WASHINGTON BLADE: What’s special about “Finn”? 

CHRIS NEE: “Finn” is a total joy bomb and we can all use that right now. It’s deeply important to me that what I do works both for kids as well as a lot of layers for adults. 

The musical started as a bold show before everything that’s happening in the world right now, and now it’s even more bold.

In the show, we tell the story of a shark who has a very different way of being himself but is also very good at being a shark. It’s very important for us to not predetermine who our kids are and we need to let them find the things that will ultimately bring them joy.

BLADE: And it’s a story you’ve wanted to tell?

NEE: Yes.It’s a coming-of-age story that’s also infused with spectacle. It’s about the beauty of life under the sea, and the beauty of a character who has a wonderful drag sensibility and knows what it is to express himself. The show and the world are really about self-expression and not being afraid to let your inner sparkles out if that’s what feels right to you. 

It relates to anyone in the audience whether they’re an adult who remembers what it was like to hide something, or a young a person who feels that way. I think it gives them the courage to say who they are and live unapologetically.

BLADE: Has this work felt a lot different from TV?

NEE: Making “Finn”with Kooman and Dimond hasbeen agreat collaborative process. Working with them on TV, I was very much the one in control, I’d tell them what we needed a song to be. But in theater, they’ve had more experience in the process. Together we’ve made something that is premiering very quickly in terms of musical theater. We got very lucky. 

BLADE: You’re a big name at Disney.How does working at the Kennedy Center compare to L.A.?

NEE: The Kennedy Center has been wonderful!They commissioned the work in the beginning and have been supporting us throughout. To be honest, there aren’t that many places left that are commissioning new works especially for young audiences, and the Kennedy Center does that.

BLADE: Your son is grown now. Has being a parent affected your work? 

NEE: I spent years in the world making children programming long before I had a child. I had a belief that you don’t have to have kids to be funny. Great writers for kids remember their own childhoods and write for an imagined audience. Once you have a kid, your brain goes into different place. 

Since he was little, I’d play songs for him. I’d tell him stories that were going to be episodes. I have video recordings of him seeing the character designs for the first time, and my getting his reaction to new work.

BLADE: Did his humor influence you?

NEE: I like to think my sense of humor shaped him.

BLADE: Was it a longtime dream to do a live musical?

NEE: I worked in theater for a couple years after graduating from college. I never thought I’d leave theater and New York. But a job on “Sesame Street” led to an unexpected journey to Los Angeles and children’s television.

Kooman and Dimond knew I wanted to find my way back into the theater. I mean, who doesn’t want to write a musical? But I didn’t have the hubris to think I could just jump into that space. But two years ago, they asked me to write a musical with them. I replied “absolutely!”  And here I am. 

In need of a little cheer? Fortunately, there’s a fix. The DMV boasts a wealth of holiday-themed theater, music, and dance guaranteed to lift spirits and warm hearts. Here’s a sliver of what’s out there. 

Arena Stage invites audiences “to step back into the holiday spirit with the joyful return of ‘Step Afrika!’s Magical Musical Holiday Step Show’ (Dec. 13-22) where the rich tradition of African-American stepping blends with the magic of the season.” DJ Nutcracker and his Arctic friends promise to amplify the festive atmosphere. Arenastage.org 

Looking for a new way to experience a Christmas favorite? With the Kennedy Center’s “Elf in Concert: Film with Live Orchestra” (through Dec. 1), you can relive the endearing comedy on a giant screen as every note of John Debney’s wonderful score is played live by the National Symphony Orchestra. 

Another Kennedy Center holiday treat is “Finn” (through Dec. 22). From Chris Nee, the out creator of TV’s “Doc McStuffins” and “Vampirina,” “Finn” is filled with vibrant sea creatures and catchy tunes. Hilarious and heartening, this world premiere musical chronicles the coming-of-age journey of a young shark following his dreams. Kennedy-center.org 

For those in search of yuletide camaraderie and keyboards, there’s the National Cathedral Christmas Day Organ Recital (Dec. 25), a tradition featuring festive music performed (at the Cathedral) by Cathedral organist Thomas Sheehan, and organ scholar Ariana Corbin. Tickets not required. Livestream available.  Nationalcathedral.org

At Baltimore Center Stage, ArtsCentric’s production of “Black Nativity” (Nov. 30-December 22) uses a fusion of blues, soul, jazz, spirituals, dance, and the powerful words of gay poet Langston Hughes, to tell the Christmas story through a wide-ranging African-American lens. Centerstage.org

For one night only, the Music Center at Strathmore in North Bethesda presents “A Swingin’ Little Christmas!” (Dec. 4), a nostalgic, Christmas kitsch cabaret featuring out TV star Jane Lynch (“Glee,” “The Marvelous Mrs. Maisel”), alongside Kate Flannery (“The Office”), Tim Davis (“Glee’s” vocal arranger), and The Tony Guerrero Quintet. 

The following night, Dave Koz and Friends celebrate the 27th anniversary edition of the longest running jazz-based Christmas tour at Strathmore on Dec. 5. Koz, a longtime out musician (primarily sax), has released eight holiday albums, including his most recent, “Christmas Ballads.” Strathmore.org

Round House Theatre presents the world premiere of “A Hannukah Carol” (through Dec. 29). The family-friendly musical comedy tells the story of millennial influencer Chava Kanipshin who in pursuit of more followers, shuns family, friends, and holiday traditions. But on the first night of Hanukkah, Chava is visited by the ghost of deceased social media star Mimi Marley and other spirits who warn her to change her ways — or live to regret it. Roundhousetheatre.org. 

Historic Ford’s Theatre again presents “A Christmas Carol” (through Dec. 31), a popular Washington tradition for decades. Conceived by Michael Baron, this dynamically staged take on the Dickens’ classic features Craig Wallace as the miserly Scrooge who after a night of ghostly visits, rediscovers Christmas joy. In case you haven’t seen it, do. Fords.org 

At Olney Theatre, award-winning out actor Michael Russotto is stepping into the shoes of Paul Morella to star in this year’s edition of Morella’s celebrated solo adaptation of “A Christmas Carol: A Ghost Story of Christmas” (Dec. 29). Russotto portrays more than 50 characters, from the miserly Scrooge to the haunting spirits, to the entire Cratchit family, including, of course, Tiny Tim. Olneytheatre.org

The adage that music can transport you to another time with just a couple of notes proves true at the Folger Library where Folger Consort, the estimable early music ensemble-in-residence, marvelously upholds a glorious Washington holiday tradition with “A Mass for Christmas Eve: Baroque Music for the Season” (Dec. 6-15). Folger.edu 

In Falls Church, Creative Cauldron presents “Madeline’s Christmas” (Dec. 6-22), a charming show based on the classic book by author and illustrator Ludwig Bemelmans. It’s Christmas Eve and taking care of 11 flu infected little girls and Miss Clavel isn’t easy, but when Madeline finds help from a magical rug merchant, all that’s miserable is brushed away, and the girls embark on an unforgettable Christmas journey. Matt Conner directs. Creativecauldron.org

The Washington Ballet’s “The Nutcracker” at the glittering, gilded Warner Theatre (through Dec. 30). Featuring Tchaikovsky’s instantly familiar music and splendid choreography by Septime Weber, this Georgetown circa 1882-set production features historical figures ranging from George Washington to King George III, along with the usual suspects like children, rats, fairies, and a mysterious godfather. Washingtonballet.org

The Gay Men’s Chorus of Washington is back with its annual holiday extravaganza “The Holiday Show” (Dec. 4, 14, and 15) at Lincoln Theatre. This year’s uplifting lineup includes eclectic songs with exciting rhythms and beautiful harmonies, and features the high-kicking, bedazzled 17th Street Dance as well as small ensembles and the GenOUT Youth Chorus! Songs include “See Amid the Winter’s Snow,” “Feliz Navidad,” “Love is Christmas,” and “Silent Night.” Gmcw.org