Karl Bunch as The Ghost of Christmas Present a role that allowed his acting career to come full circle. The musical score featured original songs by Angelyn Benson & Bobby Cronin, along with some traditional Christmas carols such as “O Holy Night.”įred DeJaco gave a very convincing performance as the “bah-humbugging,” Scrooge, managing to evoke sympathy for a character who at first seems so cruel. The Ghost of Christmas Future, a tall, dark, faceless figure with a single bony finger sticking out from his black draped sleeve, was particularly frightening. The convincing costumes and set design helped to transform the Queen Street theatre into a Victorian village. The lively musical score added a fresh take on the timeless tale, intensifying both the stark and heartfelt moments of the story. It became a holiday tradition I looked forward to year round, so when I heard about The Footlight Players‘ production of the story, I jumped at the opportunity to attend.ĭirected by Thomas Keating, this new musical adaptation of old Ebenezer Scrooge’s ghostly journey to the past, present, and future on Christmas Eve did not disappoint. Prior to his arrival in Charleston, Keating worked as an actor in Boston (Lyric Stage Co.), New York (Public Theater/NYSF/Under the Radar), and Atlanta (Fox Theatre), in addition to touring the U.S.Growing up, I attended my hometown’s production of A Christmas Carol every December. As an Equity guest artist, he has appeared on local stages with College of Charleston and Midtown Productions.
The multi-talented theatre professor has been a member of Actors’ Equity Association (AEA) since 1993. Some favorites include West Side Story, A Christmas Carol, Oklahoma!, Into the Woods, and South Pacific, to name a few.
Keating regularly directs productions at CSU and in Charleston area theatres.
Students of majors within and outside of the arts enjoy learning with Keating as mentor. He is the coordinator of the Theatre Program at Charleston Southern University, where he teaches courses including Acting, Directing, Stagecraft & Design, Acting for the Camera, and Voice & Movement, among others. Since his arrival to the area in 2007, Keating has been deeply invested in the heart of the Charleston theatre community. We’ve been truth-telling, career-supporting, artistically-advocating buddies ever since.” Once my husband got a job in Philadelphia, I moved there reluctantly but with the goal of writing a show.”įishburne adds, “I am thrilled to share it with my South Carolina community under the direction of Thomas Keating, who directed me in the Footlight Players’ production of South Pacific at the Dock Street theatre over ten years ago. There were ways to gain experience in all facets of theatre, and though I didn’t realize it at the time, I was collecting the data I needed to write a full musical. “As a Charlestonian, I had the opportunity to make art. “As a New Yorker, I was plugged in to art,” she said. She credits Charleston with her ability to make art. She lived and worked in New York City before coming to Charleston in 2011. Photo by Shallah Divine Dozier – Mind of Divine Photography Mary Fishburne, in blue, choreographs with actors for Boundless.
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