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Brooklyn’s Covenant Ballet presents ‘Charles’ Carol’

November 24, 2024 Wayne Daren Schneiderman

Child Laborers waiting to get paid (From left: Evie Venetek, Hannah Bolski, Mariami Vibliani, Verdinah Brann and Agam Gans). Photo courtesy of Jaime Gamez Photography

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FLATBUSH — Marla Hirokawa’s dream has finally become reality. “Charles’ Carol” — the vision of artistic director and founder of Covenant Ballet Theatre (CBT) Hirokawa — premiered the evening of Saturday, Nov. 16, at Brooklyn College’s Leonard & Claire Tow Center for the Performing Arts.

“Charles,” a unique spin on the Charles Dickens’ 1843 novella, “A Christmas Carol,” the story of elderly miser Ebenezer Scrooge’s transformation into a kinder, gentler man after visits from the spirits of Christmas past, present and future, is in the context of Dickens’ own childhood poverty that shaped his empathy for the poor, according to Hirokawa.

The cast of “Charles’ Carol” alongside Artistic Director and Founder of Covenant Ballet Theatre of Brooklyn Marla Hirokawa (far right, standing). Photo courtesy of Jaime Gamez Photography

“It’s been over a year since I’ve been considering doing a take on ‘A Christmas Carol,’” Hirokawa told the Brooklyn Eagle. “The ballet begins and ends on Dickens, whose childhood experience as a young boy, impoverished and one of many child laborers, becomes the motivation for his writing of ‘Carol.’ Time — past, present and future — also play an important role in the ballet as in the book,” she said.

The Cratchit family: Bob Cratchit (James Felton II), Mrs. Cratchit (Tanya Trombly), Oleg Kolbas (Peter Cratchit), Alessandra Gamez (Martha Cratchit, hidden), Miriami Vibliani (Tiny Tim) and Nino Tsertsadze (Belinda Cratchit). Photo courtesy of Jaime Gamez Photography

The creative dream realized

The performance is a little over an hour with no intermission and consists of 24 students and 10 professional dancers. The ballet was flawlessly executed and extremely professional. The chemistry of the actors, many of whom played dual roles, was undeniable.

Charles Dickens (Mauricio Vera). Photo courtesy of Jaime Gamez Photography

Darwin Black was a standout as Ebenezer Scrooge, incorporating ample physicality and occasional humor in his role. Costume designer Gail Baldoni and lighting designer David Ferri were instrumental in bringing this production to life.

Bob Cratchit and Tiny Tim (James Felton II and Miriami Vibliani). Photo courtesy of Jaime Gamez Photography

Sonia Jones, executive director of CBT, said, “Marla had a vision from the beginning and worked very hard to communicate that to everybody. Now that we’ve gotten the performance off the ground, that vision has come to life. It’s so great to see the creative dream realized.”

Charles Dickens with child laborer (Mauricio Vera and Dorothy Brann). Photo courtesy of Jaime Gamez Photography

Exceeding expectations

Hirokawa said that if the audience resonates with the ballet, she hopes to bring the ballet back annually.

“I see this as our version of ‘The Nutcracker,’” she noted. “So much work was put into this. It’s great to get it out of the mind and put it into other bodies. The creative team has been simply fantastic, going way past my expectations.”

Charles Dickens, Ebenezer Scrooge and Bob Cratchit (Mauricio Vera, Darwin Black and James Felton II). Photo courtesy of Jaime Gamez Photography

Denis Maciel, who portrays Scrooge as a young man and appears courtesy of the Philadelphia Ballet, explained to the Eagle that working with Hirokawa has been “fantastic.” He also described the ballet as having “a great energy.”

The production of “Charles’ Carol” was made possible by the New York State Council on the Arts, with the support of the Office of the Governor and the New York State legislature, in addition to Apple Bank, Ridgewood Savings Bank and CBT’s board of directors.

Ebenezer Scrooge (Darwin Black). Photo courtesy of Jaime Gamez Photography

Founded by Hirokawa in 1987, CBT is built on the premise that a serious ballet education is needed to advance the art form, train youth and improve the lives of those within its embrace. In an accepting, yet rigorous environment, CBT fosters the love of dance through pre-professional training, educational programs in New York City schools and original ballet productions.