Cincinnati Playhouse in the Park continues its longstanding holiday tradition of presenting A Christmas Carol, a story cherished for its warmth and lasting wisdom. Sound Designer and Composer Matthew M. Nielson, the creative force behind the original soundscape, offers insight into the musical world he’s crafted for the new production in Moe and Jack’s Place – The Rouse Theatre. It's a vision that honors Dickens while guiding the show into something more intimate and timeless. Working closely with Blake Robison, adapter and original director of the Playhouse’s current adaptation, Nielson brings a vivid soundscape that reconnects the classic tale to its historical roots while illuminating it in new and unexpected ways. 

From the earliest conversations, Nielson and Robison agreed that the production’s musical approach needed to feel authentic. “Blake and I knew from the very beginning that we didn’t want this Christmas Carol to feel like a collection of modern, glossy holiday cues,” Nielson said.  “His vision for the story is grounded in something more human and timeless — something that feels closer to a candlelit gathering than a commercial holiday soundtrack.”  

The intention led Nielson to the musical traditions of Revels, seasonal folk celebrations rooted in communal singing and storytelling. “It’s a musical language built on ritual, community, and the turning of the year. Music that feels familiar, even if you've never heard it.” He adds that this approach “gives the production its own identity. It feels classical without being stuffy, festive without being superficial, and deeply rooted in the kinds of traditions that Dickens himself might have known.”   

This philosophy shaped every musical choice, from the score’s instrumentation to the ambient textures that define the supernatural. One of the most captivating elements of Nielson’s design is the distinct sonic profile he builds for each of the story’s four spirits.  

“Each ghost, for example, has their own sonic world: Marley is pure paranormal energy — metallic, unsettling, full of scraping, shuddering textures, and eerie voices that float around the room. The Ghost of Christmas Past is ethereal and luminous. We even placed a subtle effect on her mic so that soft chimes sound whenever she speaks, as if they're part of her voice and she’s bending the air around her. The Ghost of Christmas Present is grounded, earthy, and elemental. There is warmth and weight in the ambience surrounding him. The Ghost of Christmas Future lives in a dark, gritty, almost subharmonic world — more felt than heard. Each of those ambient environments flows directly into the musical themes that underscore their scenes. The goal is for the audience to feel the world shift even before they consciously register it.” 

Nielson’s work ultimately deepens the story’s emotional landscape, allowing audiences to feel the shifts in Scrooge’s journey as vividly as they see them. By grounding the score in tradition while embracing imaginative design, he transforms A Christmas Carol into an experience that feels both freshly rediscovered and deeply familiar. His soundscape becomes a guiding thread through the story’s themes, reminding us why this tale endures and continues to resonate with each new season at Cincinnati Playhouse in the Park. 

This theme plays as Scrooge begins to discover empathy, particularly during the scenes centered on the Cratchit family and Tiny Tim:

Curious to hear more from A Christmas Carol? Explore additional scores and their stories below

Masters In This Hall - Scrooge's theme for the beginning part of his journey:

The Sussex Carol - Full of joy, this plays after Scrooge wakes up on Christmas morning:

The Coventry Carol - Matt made a dark, driving version of this song that acts as the base for the time travel transitions: