Inviting Charles Dickens (played by Pat Shreve) to appear on stage and act as guide in the current production of “A Christmas Carol” is a touch of genius. He is the perfect host for the multi-generational audience, even showing a sense of humor that apparently eluded the critics of his time.

Yes, Dickens and the characters from his novel, those that you love and those that you hate, were all there at the Lincoln Theater in a welcome return to live stage Sunday. This was an unusual adaptation by Teresa Vaughn and Brian Young, who also designed the sets; they definitely resembled what you would expect of an 1843 English winter. It’s lighthearted and homey, with period costumes magically crafted by Bellingham’s Renee Sherrer.

The townsfolk, sporting colorful winter attire, showed the resolve that would have been necessary during those chilly, financially troubling and dreary times.

Almost all the characters held distinct personalities, genuine and engaging.

Ebenezer Scrooge, played by Brian Young in a riveting performance, in addition to his other production roles.

(Honestly, how does he do so much?) Kevin Cobley played both a convivial Mr. Fezziwig and a lecturing but lovable Ghost of Christmas Present, and what colorful characters they are! The Cratchits are your typical poor yet likable family, with Irelyn Lenz playing a cute Tiny Tim.

The characterizations in general were just one of the authentic pieces that transported the theater back to 19th century London.

Jacob Marley (definitely scary) and the Ghost of Christmas Past (definitely different) were the first to show Scrooge where he had gone wrong.

However, all three ghosts were downright entertaining and gave Scrooge a rude awakening to the results of his nasty behavior and what was waiting for him down the road in life and death if he continued with his miserly, mean ways.

The production team, headed by Director Angela Marinella, had their hands full with the chore of transforming the relatively small Lincoln stage into not only Scrooge’s bedroom but also urban London. OK, so scene changes were not totally hidden and we watched stagehands moving furniture and props in and out of the semi-darkness. But because the whole show felt so “homespun” anyway, it was easy to imagine yourself in an earlier time, in an earlier theater where there was a lot less technical assistance. It all worked – it is the Lincoln, after all. It was a good, casual fit for those of us readjusting to a public and changed world.

If you are wondering, this is not a musical. However, there are good musicians, live, and they provide just enough accompaniment to add to the overall feel as the story unfolds: lilting Christmas tunes, a little angry drumming, simple background sounds to create that cozy feeling of a traditional Christmas.

This delightful version of a holiday favorite, which runs through Dec. 11, will tug at your heart and leave you feeling good all over. The Lincoln’s recent lobby transformation is another plus. Moving the snack area away from the entrance has eliminated the logjams and even with a nearly full house at the Nov. 28 matinee, it was much easier to navigate the lobby. And, of course, increasing the size of the women’s restroom also helps cut down on congestion.

Proof of vaccination is required and so is wearing a mask, but this show is terribly entertaining and you’ll likely forget all about the pandemic while you start to remember how good it feels to once again attend live theater.