It took Charles Dickens only six weeks to write “A Christmas Carol.”

Published Dec. 17, 1843, there was no way the Victorian novelist could have predicted its amazing longevity or its effect on the celebration of the holiday itself.

In the past 168 years, Dickens novella has never been out of print. It has been the basis for 28 movies, from silent films to Technicolor musicals, as well as for an opera, too many television versions and at least one ballet and a symphony. 

But who’s counting? The aim now, it seems, is to come up with a new angle for the very familiar story. Among the latest is one being presented through Dec. 18 by South Bend Civic Theatre: “A Christmas Carol: Scrooge & Marley.” The theatrical “hook” for this particular version is telling it through the eyes of Jacob Marley.

Even though the first words of the book are “Marley was dead,” playwright Israel Horovitz has opted to bring him back into the world of the living — at least in a ghostly form. In fact, the audience in the Warner Mainstage Auditorium is greeted first with the sight of Marley (Greg Melton) climbing out of his coffin, hollow cheeks, green complexion, bandaged head, clanking chains, echoing moans and all. Given the current fascination with zombies, vampires and werewolves, it seemed quite fitting.

In an opening that, more so than most adaptations, takes a great deal of the dialogue directly from Dickens’ text, the gangly ghost notes that what follows will play out the “Scroogey” side of the carol. He then proceeds to direct attention to the counting house of Scrooge & Marley on Christmas Eve, and the action begins.

There are no major variations in the familiar storyline, but the hardworking cast (most of the performers play two roles plus serve as members of the caroling ensemble) seemed to shift easily from one character to another, with appropriate wigs and costumes aiding the transformations. Only Marley, Scrooge (Allan W. Holody), Tiny Tim (adorable Brendan Siwik whose clear delivery happily sent “God bless us every one” to the last seat in the house) and, for some reason, Martha Cratchett (Clare Costello), had the luxury of focusing only on one role.

What makes this “Carol” interesting enough to hold the attention even of those who know the plot by heart are the very “special effects” that pop up (sometimes literally) throughout the two-hour production.

Spirits emerging from (and returning to) a smoking fireplace, a shift-shaping door knocker, a variety of Christmas trees, a good deal of thunder and lightening, a well-lit gravestone, flashes of fire and a Spirit of Christmas Yet To Be that is well worth the wait! (Note: Marley’s Act 2 entrance through the audience is a real shocker, especially for two with seats on the aisle.)

There are shifting groups of carolers who cover scene changes and generally pop up throughout with songs of the season. Their harmonies are good and easily listenable. The numerous and varied locations required are well delineated in David Chudzynski’s multi-level set design and the changing atmospheres are equally well defined via Mark Abram-Copenhaver’s lighting design. Credit also must go to sound designer John Jung-Zimmerman who is responsible for, among other things, Marley’s menacingly sepulchral tones.

The cast handles their respective assignments very well, with special applause to Melton and Holody who sustain their characters with intelligence and emotion; to Roy Bronkema who is a sympathetic Bob Cratchett and a very jolly Fezziwig; and to Christmas Past (Natalie Rarick) and Present (Bill Johnson), both of whom had other roles in addition to creating ghostly apparitions, although I could easily have done without Johnson’s disgusting hygienics as pawnbroker Old Joe.

Just moving a cast of 31 around the stage is incredibly daunting. Director Jewel Abram-Copenhaver rises to the challenge with seasonably entertaining results.

“A CHRISTMAS CAROL: SCROOGE & MARLEY” plays evenings Wednesdays through Saturdays with Sunday matinees to Dec. 18. For performance times and reservations, call 234-1112 or visit www.sbct.org.