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PROVIDENCE - It snows four times. Throw in the castle-like, stolid Dickensian set, the 85 authentic, hand-stitched costumes, the insertion of more "Christ" in the "Carols," and, to best effect, a general improvement of the script by revisiting the original Dickens novel, and you've got "A Christmas Carol" for the ages.

Trinity Repertory Company's 31st version of "A Christmas Carol" is among its finest. Why? Because director Fred Sullivan Jr. went back to the novella roots of the story. He wanted the set to be massive and the cast to be huge. He wanted detailed period clothing. He wanted the feel of Christmastime in London in 1843.

"I wanted to do this beautiful story justice," said Sullivan. And he has.

There is great texture in the staging and the look of the sets and props. He has cast it superbly. There are no Auntie Scrooges here. Trinity Rep says it re-invents "Carol" every year. Really, it re-stages. The invention is the genius of Dickens and Trinity plays around with all the various, wonderful parts.

Sullivan's version is a big homage to the small book in look and feel. Snow cascades past gaslight lamps. We listen for the various spoken accents within London (some rendered much better than others, depending on who's rendering), the foggy nights, the squalor, the class distinction, the pain. Yet, there is modern technical efficiency as well, complex use of trap doors, lightning, thunder, smoke, mirrors and those magical weather changes.

Sullivan has also formed a fine marriage of actors, bringing in the stars of the Feinstein-Gamm Theater in Pawtucket, where he often directs. Mixing with Trinity's troupe is the Gamm's artistic director, Tony Estrella, and his core of performers, Jeanine Kane, Sam Babbitt and Richard Donelly, all in key roles. This unusual union of, arguably, the state's top two theaters, works well.

Brian McEleney and William Damkoehler share the role of the miser Scrooge in dual casts (and Damkoehler does a solid turn as musical director for both, adding traditional holiday carols which still stir the heart). Damkoehler is solid as the bitter miser cut off from the world, but McEleney is remarkable - his pointed features, craggy attitude and darting tongue, both biting and literally serpentine.

Estrella and Donelly share the put-upon Bob Cratchit role. Donelly stands as too much rock of a man, but Estrella, his cockney accent the best of the bunch in both casts, adds a poignancy that other actors, slightly overacting the part, have missed.

Jeanine Kane and Phyllis Kay (Donelly's real life wife) play Mrs. Cratchit with equal good humor. Sam Babbitt brings a very human quality to the Ghost of Jacob Marley. Sullivan wanted it to be a simple acting scene between the two old miserly partners, rather than a groaning, dangling participle. And Sullivan himself - in an act of hubris he readily admits - inserted himself as Marley in the other cast. He plays it with more bombast, his calling card as an actor.

Stephen Thorne and Mauro Hantman play the roles of Scrooge's nephew Fred and the Ghost of Christmas Past equally well, and seem to have a ball flying around over the stage and audience as a Harlequin jester.

Tom Gleadow and Joe Mecca - two substantial actors sharing the role of Scrooge's generous mentor Fezziwig - are a hoot in a ridiculously wonderful costume (one of those remarkable 85 stitched by Ron Cesario) and a laughable, rust-colored wig.

Janice Duclos and Cynthia Strickland are gems as Mrs. Partlett, Scrooge's woeful housekeeper, the essential comic role; Duclos's Irish brogue hiccuping in between sips of gin from a hidden flask, and each not knowing how to hug their respective Scrooges in an awkward physical encounter that drew cheers from the audience.

Kelby T. Akin and Joe Wilson Jr. share the gargantuan role of the Ghost of Christmas Present with such physical good humor and warmth, you want to furrow up in the throes of their flowing red and green robes.

William Lane - the company's long-time costumer - designed the set this time, a single, castle-like unit that transports us to London. But the best changes - and the hallmark of this show for 31 years is that it MUST change each year - come from Sullivan's tweaking of the original Adrian Hall-Richard Cumming adaption of the Dickens novella. Sullivan has added lines here and there which further explain relationships of characters past and present, deepen emotions and widen the cast.

A change to the pivotal final scene - Scrooge now confronts Bob Cratchit in front of his home, instead of the next morning when Cratchit slithers into their office, tardy - doesn't work as well, however, and deprives the piece of its punctuation point, full circle.

One also could quibble that the epiphany scene - where Scrooge repents and vows to change - lacks a real emotional punch, favoring the silly over the undone.

But this show will fill and renew you. It still stands like an effervescent tonic, a rich, warm toddy in a rapidly unrepentant world.

And it snows four times.

Trinity Repertory Company's "A Christmas Carol" runs through Dec. 30. Call 401-352-4141 for tickets or order online at www.trinityrep.com.