By Jen Barraza
As A Christmas Carol returns to the stage with a beautifully reconstructed score using a live orchestra for the first time, this production becomes more than a performance. It is a tribute to legacy, love, and the artists who came before. When it was discovered that composer Alan Ruch’s orchestrations existed only in his head and had never been written down, the responsibility of recreating them fell to longtime collaborator Craig Bohmler.
A celebrated composer and musical director, Craig took on the daunting task of translating Alan’s musical vision by listening closely to archival recordings. But for Craig, this was more than a technical challenge. With a personal connection to the show that spans decades, his work is both a labor of love and a gift to the local theatre community. Thanks to his dedication, Alan’s music lives on, vibrant and full of heart, ready to inspire a new generation in a new home.
Q: You’ve worked on many original musicals and adaptations in your career but this project is quite unique. How did you first get involved with reconstructing Alan Ruch’s orchestrations for A Christmas Carol?
Bohmler: I musical directed the piece three times when it was regularly done at Actor’s Theatre. It is a piece I have always had great respect for and indeed when Matthew Weiner and Michael Grady approached me about this unusual approach to articulating this work, I was excited to get into the center of it to learn more about its musical complexities.
Q: What does it mean to you personally to be part of this production, which ran for 19 years at Actor’s Theatre of Phoenix and is so deeply embedded in the community’s memory?
Bohmler: I love it. Many of my dear friends today are from those productions- Indeed my husband as well- who is now playing Scrooge. AND it is the new theatre. Without my work, this piece could not have a life beyond its synthesized score, so I am glad to have at least given it the possibility of many more productions [using a live orchestra].
Q: Because Alan carried so much of this show in his head rather than on paper, reconstructing it must feel both daunting and delicate. What challenges have you faced in translating his vision from recordings into live orchestrations?
Bohmler: Well- my ear is better than it has ever been. Alan left scant choral lines and arrows here and there directing his own mind to the next musical events, but it meant a lot of listening “inside” his tracks and sometimes making decisions- always with what I imagined his intentions might be. Creating the piano part was also challenging, and then orchestrating for 11 players when a synth can do many more sounds.
Q: Can you walk us through your process? What steps are involved in listening to old recordings and turning them into playable orchestrations for a modern production?
Bohmler: You close your eyes and sit back- listen and repeat! Because I am also a composer and musical director, I knew what was needed to be heard. In 1992, I was tasked with reducing a full orchestral score to a piano/vocal for rehearsals. Only a coach, stage musical director and composer really would have that skill since all those skills would come to bare.
Q: Are there particular musical themes or moments in the score that stood out to you either for their complexity, emotional impact, or signature “Alan” qualities?
Bohmler: Well- it is full of memorable tunes and even when I musical directed it, they would keep me up at night running through my head. There are two in particular which instantly hit the ear. The opening number and Great Expectations. Now, all the tunes course through my ear. It is VERY complex harmonically, melodically pretty straight ahead, and there are LOTS of notes.
Q: As a composer yourself, how do you balance staying true to Alan’s original intent while inevitably bringing your own ear and instincts into the reconstruction?
Bohmler: I really abandoned my own ego and thoughts to Alan’s creation since it is a piece I have such respect for. Every artistic question I asked myself, I tried to filter through an assumption of what Alan might have thought.
Q: What do you hope audiences especially, those who remember the original production, will feel or recognize in this new version?
Bohmler: The REAL orchestra with all of its colors and warmth, give and take.
Q: What has this experience taught you, not only as a composer and arranger, but as an artist working with memory and legacy?
Bohmler: The universe is an abundant place. My job here was to celebrate another artist whose work I admire and to do my best to help their work see the light of day. My ear is better than it has ever been, and as I near retirement myself, it is nice to be able to give Alan’s work a forum to be heard. He was an extraordinary musician and composer.
Q: If you could say something directly to Alan about this process and this production, what would it be?
Bohmler: Thank you for letting me be a part of this piece 20 years ago and for getting the pleasure of encountering it now. I hope I did you proud!
This season, A Christmas Carol returns with a powerful new sound, lovingly brought to life through Craig Bohmler’s reconstruction of Alan Ruch’s original music. It’s a celebration of legacy, community, and the joy of live performance. Whether this story is a yearly tradition or a first-time experience, we invite you to share it with the ones you love. Join us at The Phoenix Theatre Company and make this unforgettable holiday production part of your season. Tickets are available now.
Event Details
What: A Christmas Carol
When: November 26 – December 28, 2025
Where: The Phoenix Theatre Company, Judith Hardes Theatre, 1825 N. Central Ave., Phoenix, AZ 85004
Tickets: Available at www.phoenixtheatre.com or by calling the Box Office at (602) 254-2151
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