Charles Dickens’ A Christmas Carol was first published in 1843. Though the underlying spirit (or spirits, if you will) remains the same, the Q Brothers have made more than a few changes. Bless them, everyone.

This makes six years in a row I’ve seen the Q Brothers ply their trade in this must-see show. I’d call it a tradition, but that implies a handing down between generations. I can’t even get most of my same-generation friends to go because they’re afraid of hip-hop, as if it were some kind of communicable disease. Bah, humbug, Those who have gone, thank me.

Since I’ve written about the show the last two years, there’s not much left to say, except to wonder when the cast will get too old to dance around the stage, and when that happens, will they allow a younger set of performers to replace them in the tradition of some road-weary 60s rock band that has reached its limit and sold their name (see Blood, Sweat, and Tears).

Nonetheless, I’ll mention a few things. Scrooge asking a young girl in the audience whether he’s using the word hashtag correctly. Her hands-up response suggested she didn’t know, which made me feel better. Scrooge’s childhood friend once again going off on a tangent, not one considered by Leibniz or Euclid, but different than last year’s, cracking up not only the other actors and the audience, but also himself, and thereby answering my question as to whether his random departure is part of the show. The Tarik Cohen joke added last year to show currency. The newly-inserted visual marijuana reference to the Illinois law about to take effect. Tiny Tim’s song that matter-of-factly lists all his ailments, none of which, I’m pretty sure, are transmitted by attending a hip-hop show. Just saying.