STAGE REVIEW : A Musical ‘Christmas Carol’ : Theater: San Diego Rep’s annual production of Dickens classic takes on a gospel-style sound.

For 17 years, the San Diego Repertory Theatre has been putting a fresh set of clothes on Charles Dickens’ “A Christmas Carol.”

Six years ago, the company went for a classical fit--going for a faithful Victorian rendering. In more recent years, there has been a socially challenging fit, with Dickens’ poor being recast as today’s homeless. Some years--like last year--it has just been plain puzzling without an obvious centralizing idea.

This year, the clothes are inspired.

This year, co-directors Sam Woodhouse and Osayande Baruti have re-conceived the story as a gospel musical, with many of Dickens’ words adapted to original compositions by Baruti.

It’s a joyous onstage marriage between Dickens and gospel, two partners who turn out, surprisingly, to share a common heart.

The soul of gospel music is the transforming power of spirit and faith. Dickens’ “A Christmas Carol” is also about transformation--as spirits help a stingy old man to learn that he must open up his heart if he is to save his life in this world and the next.

The play, which remains faithful to the adaptation the Rep has always used by artistic director Douglas Jacobs, starts with a minister (Baruti) presiding over the funeral of Jacob Marley, Scrooge’s deceased partner. The minister tells his congregation that Marley was on a train to hell in the song “Black Diamond Express,” in which he describes the devil as the conductor, sin as the engineer and greed as the train’s headlights.

Scrooge (Richard Kneeland) arrives and mocks the message. The minister starts to tell Scrooge’s story as a way of warning the old man that he is on the same train Marley rode. The minister segues into the role of narrator and the classic story unfolds, with the hard-hearted Scrooge learning compassion from midnight visits by the Ghosts of Christmas Past, Present and Future.

In the process, much of the narrative becomes absorbed into song lyrics adapted by Baruti. Instead of the charity collectors saying, “I knew Scrooge would be like this” when Scrooge turns them away on their first visit to him, they sing it--in exquisite four-part harmony. The story is told in more than 30 songs, most of them original, but a few of them gospel traditionals, such as the rousing “Feel the Spirit,” explosively sung by Mary Grimes as Mrs. Fezziwig.

Other changes are subtle. Instead of Scrooge revisiting a party with dancing at the home of his old employer, Mr. Fezziwig, he remembers testifying there--with dancing and song. A 10-voice choir backs up most of the music in a way that seems quite natural because, after all, this is all framed as a story being told by the minister/narrator.

The show is not without its flaws, but most of these could be corrected with judicious pruning. The first act takes too long to get to the meat of the story, being too densely packed with songs--the most expendable of which is the final one.

But the second act works seamlessly, and the show’s pleasures far outweigh its failings. Its unassailable strength stems from the inspired union of Dickens, gospel music and the performers. Some are marvelous singers, some are acrobatic dancers and others are consummate actors.

Kneeland, an Old Globe veteran, sets the standard for acting. He captures the crotchety stiffness of old Scrooge, subtly delineating how his character’s frozen heart melts. Baruti keeps up the needed tension as the minister-narrator, moving the show along with humor and grace.

Grimes’ voice is extraordinary--a shake the rafters-type phenomenon. The sweet power of Melinda Gilb’s voice as Christmas Past is a pleasure that makes one long for more. April Grace, who was so eloquent in the Rep’s last show, “Spunk,” is haunting as the fiancee Scrooge cast off as a young man.

Sean Thomas Murray is a bit too campy as Jacob Marley, but makes up for it with a wrenching portrayal of Scrooge as a young man. Brian Evaret Chandler brings strength to the Ghost of Christmas Present and the silently suffering Ghost of Christmas Future.

As for the children, Marc Gould, a sixth-grader at the San Diego School for Creative and Performing Arts, radiates stage savvy as young Ebeneezer and a street urchin. Little Brandon Pollitt exudes vulnerability as the crippled Tiny Tim.

Victoria Petrovich’s simple, uncluttered set--stairs and platforms going upward like a pulpit--is warmly lit by Brenda Berry. Kay Peebles’ eclectic costumes help set the mood from the fanciful to the ascetic, from the simple, spare leggings and tops of the on-stage choir to one guest dressed as a Christmas tree, complete with lights, at Scrooge’s nephew’s Christmas party.

The net result is the Rep’s most inspired “A Christmas Carol” in this critic’s memory--a joyous, exuberant, vibrant marriage between two worlds. The company may well change the clothing of “A Christmas Carol” next year, but this production has too much life to be packed away in mothballs after the season is over. This is a show that should have a future--and many happy extensions.

“A CHRISTMAS CAROL”

Adapted from Charles Dickens by Douglas Jacobs. Musical adaptation, selected compositions, music arrangements and choreography by Osayande Baruti with some music and lyrics by Kovia Sapo. Directors are Sam Woodhouse and Osayande Baruti. Set design by Victoria Petrovich. Costumes by Kay Peebles. Lighting by Brenda Berry. Sound by Mitch Grant. Musical direction by Micah D. Whitley. Choir direction by Ricky Womack. Stage manager is Susan A. Virgilio. With Osayande Baruti, Krystina Marie Brown, Brian Evaret Chandler, Shirley Charles, Paul Jackson-Miles, Melinda Gilb, Marc Gould, April Grace, Mary Grimes, Richard Kneeland, Sean Thomas Murray, Richard Ortega, Brandon Pollitt and Dewain Robinson. At 8 p.m. Tuesdays-Saturdays (with no performance Dec. 25) and 7 p.m. Sundays with Sunday matinees at 2 and Saturday matinees at 2 on Dec. 12, 19 and 26 with a Dec. 24 matinee at 2 p.m. Closes Dec. 27. Tickets are $25 with group rates available. At the Lyceum Stage, 79 Horton Plaza, San Diego, 235-8025.