★★★★

“This polished, paranormal staging rattles its chains as effectively as it warms the heart”

Christmas hasn’t always been twinkling lights and cosy fires – in Dickens’ time, ghost stories helped pass the long winter nights, a tradition cemented by ‘A Christmas Carol’. Mark Gatiss’ stage adaptation, ‘A Christmas Carol: A Ghost Story’, leans into this seasonal spookiness, casting a chilling shadow across the festive favourite. Catch this show’s third run at the fittingly haunting Alexandra Palace if you fancy something darker this Christmas.

Scrooge and Marley revel in another year of ruthless debt collecting – until Marley drops dead. Fast forward seven years and Scrooge remains a miser with no care for people’s suffering. One fateful Christmas Eve, a night of supernatural encounters confronts him with the cost of his choices. Can he atone and will his redemption endure?

Gatiss’ adaptation honours Dickens’ legacy, faithfully preserving the original plot and prose while artfully reimagining it for theatre. Its more traditional feel is sharpened by the darker edge of ghostly encounters, with some playful asides adding wit and dimension to Scrooge. The conclusion stays true to Dickens, yet a satisfying twist underscores the permanence of Scrooge’s transformation and makes his ordeal all the more meaningful.

Director Adam Penford keeps the audience on edge, sustaining a haunting energy with slick stagecraft and well timed jump scares softened by moments of wit and affection. Towering, oppressive set pieces dominate with meticulous blocking ensuring clarity throughout. Smart use of the stage apron adds dynamism in the large space, and video projections cleverly augment the set.

Georgina Lamb’s movement direction injects bursts of merriment, with choreographed sequences adding welcome dynamism between darker passages. These moments not only heighten contrast but soften the focus on Scrooge, giving the production greater texture and variety.

Tingying Dong’s score demonstrates effortless range, shifting from deliciously eerie moments to bursts of Christmas cheer. The choral section is a particularly effective touch, bringing Scrooge into the fold.

Paul Wills’ impressive design brims with symbolism. Towering filing cabinets echo Scrooge’s isolation while his elevated desk reflects self perceived superiority. The stark bleakness of Scrooge’s office and Victorian streets are sharp contrast to the warmth of the Christmas scenes, creating a visual journey that underscores the character’s transformation. John Bulleid’s illusion design delivers clever sleight of hand and well timed jump scares, conjuring a genuinely haunted atmosphere. Philip Gladwell’s inventive lighting design dazzles, blending an array of effects to bring maximum drama. Ella Wahlström’s sound design perfectly captures a freezing Victorian Christmas, seamlessly layering whipping wind, clanging clocks and spectral sounds. Nina Dunn’s video design evokes the texture of real life London. Matthew Forbes’s puppet design extends the otherworldly feel but could benefit from deeper integration. The dog is undeniably charming despite its curious lack of hindlegs, while the ghost children are truly creepy.

This strong cast features famous faces. Neil Morrissey brings a lighter touch to Marley, sputtering comically to death before returning with a far more haunting presence. Matthew Cottle shines as Scrooge, capturing the frosty miser while subtly suggesting the man beneath. His performance blossoms into a more nuanced portrayal of redemption, avoiding the pitfall of manic exaggeration. The ensemble handles their multi roling with skill, shifting accents and characterisations with ease. The slightly echoey acoustics demand clearer diction at times, especially when employing accents.

‘A Christmas Carol: A Ghost Story’ offers a darker take on the Christmas classic. This polished, paranormal staging rattles its chains as effectively as it warms the heart, making the trip to Alexandra Palace well worth the journey.

A CHRISTMAS CAROL

Old Vic

★★★★★

“Paul Hilton delivers a definitive Scrooge, embodying the character with razor sharp wit, aching pathos, and a raw blend of grit and despair”

We all know ‘A Christmas Carol’ inside out – right? This production proves otherwise, reworking the classic tale of ghosts and greed into a spellbinding tribute to flawed humanity. This spectacular show marries the finest stagecraft with true Christmas spirit, delivering joy, generosity and – for many – a tear or two.

It’s Christmas Eve and miserly Ebenezer Scrooge scorns the cheer stirring every heart but his own. That night, the ghost of Jacob Marley, his long dead associate, warns Scrooge to change his ways. Three more ghostly visitations reveal Scrooge’s tragic journey from hopeful boy to heartless creditor, driven by fear and abuse. Can he discover the courage to love at last?

This adaptation by Jack Thorne (of ‘Harry Potter and the Cursed Child’ fame) premiered at the Old Vic in 2017, returning every year since. Its 2019 Broadway transfer was crowned with five Tony Award wins, so my expectations were high. And my, were they met!

Based on Dickens’ original novella, Thorne’s adaptation infuses redemption with real vulnerability. Scrooge is both humanised and haunted by an even darker past than Dickens imagined. At once victim and perpetrator, he emerges a richly complex figure portrayed with unsettling realism. His redemption arc isn’t romanticised either. After his Christmas epiphany, he rushes to tell lost love, Belle, he wishes he’d ‘done things differently’. Belle, however, cuts him short with a strikingly mature response: she’s content. Similarly, Scrooge’s manic Christmas party is transformed into a haunting provocation to follow through. It’s full of nuance and humanity, with achingly poignant moments that make me ugly cry more than once.

Under the direction of Matthew Warchus, Artistic Director of the Old Vic, and fluid movement by Lizzi Gee, unfolds a breathtaking ballet of people, props, and design. Staged in the round, the use of space is ingenious – aisles, auditorium and even air become part of the drama. Set pieces rise from the floor, lamps hover (or swing!) overhead, and every angle is considered. The performance is slick and seamless, each scene meticulously blocked and choreographed. Moments of stillness are chosen with care, creating space for genuine connection.

Christopher Nightingale’s Tony winning score weaves timeless Christmas carols and folk arrangements with satisfying ingenuity. Familiar strains take on new meaning: ‘God Rest Ye Merry, Gentlemen’ lands with knowing irony; ‘O Holy Night’ dramatically counterpoints Scrooge’s resistance to change. Perhaps my favourite element is the use of hand bells, their radiant brightness offering hope even at Scrooge’s lowest points.

Rob Howell’s set and costume design is breathtaking. Set pieces are revealed through ingenious mechanics, creating magical transitions. The immersive Christmas dinner is a theatrical event in its own right. Costumes use patchwork as a striking visual metaphor, symbolising life’s many experiences. Hugh Vanstone’s lighting design is a visual feast, deploying a perfectly synchronised array of lamps, spots, washes and effects. The lamp drop is a startling and spectacular masterstroke. Simon Baker’s sound design is superbly judged, creating a haunting and human soundscape.

This outstanding cast conveys remarkable warmth and depth. Paul Hilton delivers a definitive Scrooge, embodying the character with razor sharp wit, aching pathos, and a raw blend of grit and despair. Rob Compton’s buoyant charm and sharp comic timing lift Bob Cratchit, sparring effectively against Hilton’s spiky Scrooge. Matthew Durkan imbues Fred with sincerity and steadfast kinship. Lauren Jones gives Little Fan a youthful vitality that deepens into poignancy; Tanisha Spring is radiant as Belle, her hopeful spirit evolving into movingly mature acceptance. Both skilfully display vocal brilliance and emotional nuance. Olive Mac Mahon makes her professional stage debut as Tiny Tim, drawing tears with touching honesty.

The Old Vic’s ‘A Christmas Carol’ is an absolute must see. Aside from its theatrical brilliance, it also supports people living in poverty today. Few things capture the essence of Christmas more powerfully than that.

A CHRISTMAS CAROL

Alexandra Palace

★★★★

“This polished, paranormal staging rattles its chains as effectively as it warms the heart”