A Christmas Carol - Review

Alexandra Palace Theatre

****

Written by Charles Dickens

Adapted by Mark Gatiss

Directed by Adam Penford

Matthew Cottle and Neil Morissey

Mark Gatiss has crafted a gorgeous adaptation of Charles Dickens’s Christmas classic. That the production is staged amidst the Victoriana of the Alexandra Palace Theatre only adds to the authenticity of the evening’s charm.

Adam Penford directs Matthew Cottle as Ebenezer Scrooge. Onstage virtually throughout, Penford delivers a cracking Scrooge, whose famed redemption is as uplifting as it is heart-touching. Grabbing the star-billing in this, the fourth outing for the Gatiss adaptation, is Neil Morrisey as Jacob Marley.

“Marley was dead” is how Dickens opened his narrative. Gatiss however cleverly weaves in a prologue that sets the scene some seven years prior. The show kicks off with Marley and Scrooge working side by side at their ledgers, curmudgeonly skinflints the pair of them, before Marley with a wonderfully comic flourish, drops his quill and drops dead. It’s a marvellous Marley from Morrisey who together with every other member of the cast (apart from Cottle), endures numerous costume changes as he delivers a number of the story’s supporting characters.

While the production is very much a tremendously company-driven production, Cottle helms the narrative exquisitely – his presence continuous throughout both acts, yet never dominating and always allowing the story’s nuances and fine detail to be played out by his fellow troupers.

Remembering that this is of course a ghost story, Gatiss retains the sharpness of Dickens’s black humour while also imbuing the production with just enough ghostly spookiness and deliciously simple special effects that will mildly scare the kids without going too far. Paul Wills’s set design is an equally ingenious treat – all swirling filing cabinets, moved around as needed, with projections to crown the show’s beautiful staging. 

This is fine company work with too many names to praise – a shout out however for the two kids rostered to perform on press night, Kaycee Davis and Dexter Pulling who were spot-on throughout.

A Christmas Carol at Alexandra Palace is fabulous festive fayre!

Runs until 4th January 2026

Photo credit: Mark Douet

A Christmas Carol - Review

Theatre Royal, Windsor

****

Written by Charles Dickens

Adapted and directed by Roy Marsden

Having played for just the one week at Windsor’s Theatre Royal, Roy Marsden’s adaptation of the famously festive ghost story made for a charming lead-in to the Christmas season.

Staged as a radio play, the cast sit onstage throughout, costumed as befits their various characters, stepping up to microphone stands to read their lines as Foley Artist Michael Workman creates all sorts of background noises to set the scene. All the sounds are real rather than digitised and it is a treat to see radio drama performed much in the style of how it would have been created during the mid-20th century.

Marsden is Ebenezer Scrooge. Clad in the traditional nightgown as Scrooge receives his three ghostly visitations over the night of Christmas Eve, Marsden’s portrayal of the old miser, from curmudgeonly to compassionate, is the work of a deft old hand who cleverly captures Scrooge’s complexities.

Playing (a Scots) Ghost of Christmas Past as well as Mrs Cratchit, Jenny Seagrove brings a glorious combination of chilling wisdom together with firm but humble homeliness to her brace of  characters. There is a kind familiarity to Seagrove’s performance that is as gorgeous to watch as it is professional in its delivery.

Michael Praed, Robert Duncan and Holly Smith take care of a handful of other key characters that the old yarn requires, while Shannon Rewcroft adds a glorious soprano touch to her roles as Ben Stock steps up to lead the audience in a handful of carols for all after the cast have taken their bows.

The ‘On Air’ series of radio plays is an imaginative concept that the Theatre Royal’s company appear to have skillfully mastered.  Classic dramas, delivered in a way that is both traditional and yet innovative. 

This opinion is published after the show’s run has ended – however it seems that irrespective of this critic’s praise, the Windsor audiences know a good show when they see it. On the night of this review, the house was packed with an audience that spanned the ages and generations, all enjoying an evening of fabulously crafted theatre.

A Pissedmas Carol - Review

Leicester Square Theatre, London

***

Directed by Katy Baker

The company of A Pissedmas Carol

For the festive season at the Leicester Square Theatre, A Pissedmas Carol sees half a dozen actors (no cast list, no names) tell Dickens’ classic morality tale, but with a twist. Each night one of the company has consumed a copious amount of alcohol before curtain-up and takes their part in the show blind drunk.

To be fair, the whole gig has been well rehearsed and there are liberal quantities of modern Xmas songs woven into the narrative to ease the evening along. The pissed performer is, by their nature, a loose cannon on stage and so all the cast are dab hands, not only at their rehearsed lines but also at improvising their way around their inebriated colleague as the story unfolds.

The songs are well sung and on the night of this review (20th December) the drunk female performer sung a spectacular solo number particularly beautifully. The classic yarn is cantered through at a cracking pace too, which all makes for an eclectic, lively show.

Set your expectations low. These are low-brow festive frolics that lack the raunchy filth of a truly adult pantomime. But if you approach the show fuelled with a modest amount of alcohol yourself, you won't be disappointed. Fun times! 

Runs until 7th January 2023

A Christmas Carol - Review

Arts Theatre, London


*****


Written by Charles Dickens
Directed by Tom Cairns

Simon Callow

Simon Callow’s telling of A Christmas Carol at the Arts Theatre is theatrical perfection. A solo performance, aided only by subtly ingenious projections and the occasional, immaculately timed sound effect, sees Callow deliver Dickens’ classic festive fable in an 80 minute acting masterclass. Dressed plainly, but for the period, Callow’s narration is a tour de force, not only of vocal ingenuity - but of physical theatre too with his carefully choreographed movements only enhancing the story. 

it is of course in Callow’s voice that the story comes alive. His tone takes us through, not only Ebenezer Scrooge’s nightmares and ultimate redemption - but also the characters in Scrooge’s world. Without once resorting to hackneyed cliché, Callow voices the supporting cast in a way that not only convinces, but moves the audience too, removing us from our 21st century screen-based world of visual hyper-stimulation and returning us instead to the land of our imagination, supplemented only by the hints of Dickensian London in Cairns’ elegant, minimal stage design.

The phrase ‘national treasure’ is bandied about far too loosely these days - but Callow ranks there, up amongst our cultural crown jewels. With his mellow, mellifluous timbre and gorgeous cadence, Callow’s take on the story is flawless and unique. Voices such as his are rare - go and catch this gem of a performance - it truly is London’s Christmas cracker!


Runs until 12th January 2019
Photo credit: Laura Marie Linck

A Christmas Carol : The Musical In Concert - Review

Lyceum Theatre, London


****


Music by Alan Menken
Lyrics by Lynn Ahrens
Book by Mike Ockrent and Lynn Ahrens
Based on the story by Charles Dickens

Griff Rhys Jones

It’s that time of year where once again Freddie Tapner gleefully conducts A Christmas Carol: The Musical in Concert at the West End's Lyceum Theatre for two nights (and a matinee) only. The classic tale is told with the help of a gorgeous cast including Welsh treasures Griff Rhys Jones, X-Factor finalist Lucie Jones together with the fabulous Cedric Neal who, along with an excellent company, bring Alan Menken’s score to life with plenty of Christmas cheer.

Charles Dickens’ story of Ebenezer Scrooge and his moral comeuppance from three ghosts of Christmas Past, Present and Future is a much beloved yarn. Here it is Rhys Jones who bah-humbugs his way through life much to the disappointment of his orphan nephew whose yearly invite to Christmas Dinner is met with gruff Griff’s lust for solitude (“Nothing to do with me!”). David Hunter is Bob Cratchit, his ever-suffering and ever-faithful employee whose son, Tiny Tim is on his last legs (sorry) not that Scrooge seems to mind nor notice. On Christmas Eve, Scrooge’s old partner Jacob Marley (a menacing performance by Jeremy Secomb) arrives with a spooky warning (“Link by link”) that Scrooge may be working his way toward an eternity of torment if he doesn’t give up his self-serving ways. Soon after, the three spirits show up to further open his curmudgeonly eyes to the error of his ways.

The score is full of old-school sentiment, arguably perfect for the time of year, though Cratchit’s sickly sweet exchanges with his son (the adorable Tobias Ungleson) are perhaps a little over sweet and hard to swallow. A few dance-along tunes help bring the festive spirit with Abundance and Charity, a company number led by the delightful Neal, a particular joy.

A few technical issues and lines lost in the London Musical Theatre Orchestra’s melody get in the way of a perfect evening but there is something to be said for gloriously unashamed Christmas celebration in this continuously turbulent time. Get a ticket and settle in for a fun night of relentless festive frolics, indulging yourself in the sheer escapism that comes with the season.

Performances on Monday 17th December at 4pm and 7.30pm

Reviewed by Heather Deacon

Photo credit: Nick Rutter

A Christmas Carol - The Musical In Concert

Lyceum Theatre, London


*****


Music by Alan Menken
Lyrics by Lynn Ahrens
Book by Mike Ockrent and Lynn Ahrens
Based on the story by Charles Dickens

Robert Lindsay

Much like a rich brandy butter complements a fine Christmas pudding so too does Dickens’ classic Christmas fable nestle cozily into an Alan Menken score. His tunes are soaring, grand and just a little bit Disney-esque and in a story that’s all about redemption and humanity that’s a perfect fit.

What makes this concert performance of A Christmas Carol all the richer is the sumptuous sound of Freddie Tapner’s 32 piece London Musical Theatre Orchestra playing to support a stellar cast of musical theatre’s finest, alongside a 16 strong chorus. With just a hint of props and costuming, along with Mike Robertson’s ingenious lighting, the imagery of this show lies entirely within the audience’s imagination. 

Reprising his 2016 creation, Robert Lindsay is a gnarled and grizzled Ebenezer Scrooge, blossoming as he journeys to discover compassion and kindness. Lindsay brings a weathered London nuance to Scrooge and what makes his skinflint all the more compelling is that not only is he a top notch actor with immaculate timing and presence, he is also blessed with a stunning musical talent. 

A concert performance of any musical is all about acting through song and the assembled talent playing to a packed Lyceum offer a masterclass. In what is, probably, the UK’s definitive Bob Cratchit for the 2017 season, Michael Xavier delivers a cracking combination of power and pathos. Xavier knows the subtleties of working a massive West End crowd into an atmosphere of intimacy - and that he manages to capture the tragedy of Tiny Tim’s graveside aided only by Menken’s music is testimony to his craft,

The company’s other Christmas cracker is Sophie-Louise Dann as Mrs Fezziwig. The show’s writers have (mercifully) trimmed the original tale and where once the Fezziwigs were focal to the narrative of not only the Ghost of Christmas Past but also the Christmas Present phantom, here they play in just the historical chapter. Dann however relishes every word, lighting up the stage with a fabulous flamboyance.

In chronological order the three Christmas Ghosts, are played by Gemma Sutton, Hugh Maynard and Lucie Jones. Sutton manages what is in effect a therapy session for the old man, perfectly. As she whirls Robert Lindsay through Scrooge’s troubled childhood, bereft of love, the pair bring a sad, beautiful resonance to The Lights of Long Ago.

Maynard crowned in a holly wreath brings a haunting gusto to the stage, though it is the silent veiled Jones, signalling Scrooge’s impending doom that truly chills. A doubling up in the cast however does allow Jones (as Emily) a beautiful duet with Young Ebenezer (Cameron Potts), A Place Called Home, sung when the two were married many years ago.

Throughout, Tapner’s casting proves a delight. Glenn Carter brings an ugly yet compellingly youthful virility to Jacob Marley - rarely has this miserably spectre been played out so appealingly. Carter’s big solo Link By Link is Menken and Ahrens at their wickedest. Rebecca Lock and Nicholas Colicos turn in similarly top-notch cameos as Mrs Cratchit and Mr Fezziwig.

And the kids are professionally cute too. Tobias Ungleston is a cracking Tiny Tim, while Aaron Gelkoff who plays a number of Dickensian juveniles through the evening brings a beautifully voiced chutzpah to the stage that is made for Menken. Nods too to young Sylvia Erskine and Ivy Pratt, both also on top form.

When the show premiered in New York in 1994, it was to famously and festively return for ten subsequent sold out seasons. Lindsay makes this iteration of the timeless tale his own, and free of the wizardry of stage-crafted special effects, resting solely on the talents of its cast and orchestra, this musical concert becomes an enchantment.

Returns to the Lyceum for one further performance on Monday 18th December.

A Christmas Carol - Review

Royal Shakespeare Theatre, Stratford upon Avon


****


By Charles Dickens
A new adaptation by David Edgar
Directed by Rachel Kavanaugh

Phil Davis

This year's seasonal offering in the Royal Shakespeare Theatre is a grand affair as David Edgar (it was he who famously adapted Dickens’ Nicholas Nickleby for the company back in 1980) tackles A Christmas Carol. The classic fable is timeless in its tale of Ebenezer Scrooge who is forced to re-discover his compassion and humanity. What concerns Edgar however is that some of the book’s rich social commentary upon the time may have been been lost over the decades and this 2017 adaptation seeks to redress that balance.

Edgar’s trick is to frame the story as a spin-out of dialogue between Dickens himself (as a young man in his 30s, played by Nicholas Bishop) and John Forster, the author's editor and friend played by Beruce Kahn. It is a novel conceit that serves well to remind us of the inhuman poverty of the time along with the widespread and crippling exploitation of very young children employed in the nation’s factories. But in his history lesson, Edgar does us a disservice –Dickens’ prose spoke of the harshness of his time through a beautiful (and quintessentially English) dynamic of understatement, allowing his carefully crafted text to paint the picture. Here, as Dickens and Forster occasionally explain the show’s context in their exchanges, Edgar’s script feels lazy and patronising and, to the purists, a distraction. And as for those references to Snapchat, Uber, Tinder and Boris Johnson - they seem crass and shallow in a show that other than its Christmas scheduling is anything but a pantomime.

The casting however is exquisite. Phil Davis’ Scrooge captures the miserly callousness of the old usurer. The story is traditionally set in London and there is more than a hint of Wilfred Brambell’s Steptoe to Davis’ gnarled anti-hero. Actually, that’s no bad thing, because the tragic pathos of Scrooge’s loneliness is one of the show’s underlying drivers and as Dickens' four ghosts guide him on his path to redemption, Davis cleverly lets the petals of Scrooge’s humanity unfold.

But bah humbug! The full depth and breadth of the RSC's main house is put to fine use and even if the projections are a little cranky, Stephen Brimson Lewis’ scenery and Ben Hart’s illusions are a treat. The cast too offer up a fine interpretation of the festive favourite. Vivien Parry pops up as numerous characters throughout the tale including an enchanting Ghost Of Christmas Past (as well as a wonderfully crotchety elderly aunt). Gerard Carey and Emma Pallant break our hearts with their passionate dignity as Bob Cratchit and his wife, while on press night, the sweetly voiced young Jude Muir made fine work of Tiny Tim.

Rachel Kavanaugh has created quality theatre with A Christmas Carol – the show’s visuals offer a hint of magic – and there is much of our nation’s troubled social history to consider too. But above all, the story’s traditional message of the healing powers of love, warmth and kindness shines through. The people of Stratford are well served this Christmas.

Runs until 4th February 2018

Photo by Manuel Harlan (c) RSC

A Christmas Carol (narrated by Simon Callow) - Review

****

Released on 1st of December from Island Records, Simon Callow’s narration of Charles Dickens’ seasonal classic marks the 175th anniversary of Dickens self-publishing the original tale. Two years ago Callow adapted the novel into an acclaimed one-man staged performance and it is that version now being released.

Much like a luxuriously fruited and brandy drenched Christmas pudding, Callow’s voice (surely a national treasure in itself) serves up the festive fable in a recording that lasts a touch longer than the hour. Callow savours Dickens’ descriptions, his telling of the story offering up vivid portrayals of Ebenezer Scrooge, the three foreboding Spirits that visit him through the early hours of Christmas morning and all the other Cheapside characters. 

Adding a subtly seasonal musical backdrop and occasional musical interludes between the chapters, The Brighouse And Rastrick Band offer a selection of carols from their award-winning brass ensemble. In addition to Callow on CD1, a second disc provides a further 20 or so carol melodies recorded by the band, offering the opportunity to either sit back and listen, or maybe join in for a singalong.

It all makes for a marvelous recording and in our modern world, where video-based entertainment spews forth from screens that are everywhere, how wonderful to simply play this recording and let Simon Callow’s magical voice take one’s imagination back to 19th Century London.

Available to buy and download from all the usual retailers and digital platforms.