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

How The Other Half Loves - Review

Theatre Royal Haymarket, London


***

Written by Alan Ayckbourn
Directed by Alan Strachan

Matthew Cottle and Gillian Wright

Written before he had become one of the nation's most prolific playwrights, yet as ever focusing upon his hallmark theme of domestic dysfunctionality, How The Other Half Loves is Alan Ayckbourn's 1969 effort, viewed through the prism of well-performed comedy.

Fuelled by differences in class and alongside marital infidelity that spans the social strata, the young and argumentative Teresa and Bob Philips (Tamzin Outhwaite and Jason Merrells) live modestly whilst the older Frank and Fiona Foster (Nicholas Le Prevost and Jenny Seagrove) enjoy a more privileged lifestyle. This being Ayckbourn however, Bob is having an affair with Fiona and thrown into the mix are the dull and dim Featherstones (William and Mary played by Matthew Cottle and Gillian Wright respectively) who have no idea that they’re being used as scape goats to hide the sordid carryings on. 

For the most part the book is well thought out. Mistaken suspicions are cleverly managed to comical and catastrophic results, with occasional moments of perfectly timed slapstick only enhancing the humour. But while there's much energy on display, the ending disappoints, feeling a little weak and somewhat rushed and almost doing a disservice to the preceding hilarity. The lengthy curtain drops between scene changes don't help, with the frequent halts dissipating dramatic momentum. 

Le Prevost, Wright and Cottle are all on top form. Le Prevost’s embodiment of a Blithering older gentleman with a constant misunderstanding of what’s been said to him brings the audience to its knees with roaring hilarity. He shows a believable stereotype that continues to surprise and is extremely enjoyable to watch. Wright’s Mary is shy and understated, with a masterclass performance in how to use pauses to full effect and a wonderful collaboration on stage with Cottle, who embodies a warm awkwardness on stage that one could watch for hours.

Alan Strachan's direction is choreographed to perfection with pinpoint timing and movement, delivering an Ayckbourn revival that is fun to watch and which refreshingly restores some old school charm to the theatre.

Runs until 25th June
Reviewed by Charlotte Darcy
Photo credit: Alistair Muir