★★★★★

“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.

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

The first thing you notice about the new musical, “Stiletto”, is the opulence of Ceci Calf’s set. Dimly lit in the pre-show, it depicts not so much a Venetian palazzo but something more subterranean. You almost expect ripples of light, cast from the canal waters, to dapple from above. It is moody, portentous and atmospheric. The musical itself follows suit. Consistently soul-stirring, grandiose and lush, it looks and sounds exceptional. A balcony circles the stage behind its proscenium arch, like a minstrel’s gallery. In the shadows we can make out the silhouettes of the fifteen-piece orchestra. A cast of seventeen grace the stage, yet Chris Baldock’s musical staging never makes it appear crowded. From the opening dramatic bars of music, we know we are in for something grand. There is a danger that the show might take itself too seriously. A feeling, however, which soon dissipates under David Gilmore’s pacey and fresh direction.

We are in Venice in the early part of the eighteenth century. Marco Borroni (Jack Chambers) is on the cusp of stardom. He is a ‘castrato’, which means he was castrated before puberty to preserve his soprano voice. Apparently, the process not only keeps the vocals skills intact, but it also in no way diminishes his pleasure-giving prowess – as his siren-like patron, the Contessa Azurra (Kelly Hampson), seductively points out. Meanwhile Marco meets feisty Gioia (Jewelle Hutchinson), a slave’s daughter, in the market square. His lust is turned into sheer wonder when he hears her sing, and he vows to sweep her up from the gutter into his own impending rise to fame and fortune. Of course, there are snags. In this case an accidental death, an ensuing scapegoat bound for the hangman’s noose (i.e. Gioia – that’s no spoiler by the way), a corrupt judicial system, and the predictable battle between good and bad – the underdog and the powerful. Tim Luscombe’s book follows a formulaic narrative, but there is a quirkiness and modernism to the dialogue, much of which swings effortlessly in time to the musical preludes.

The plot may be a touch thin, but Matthew Wilder’s score is as ripe and succulent as they come. Wilder generously gives each major character a solo moment in the spotlight, but he also allows the full ensemble to shine throughout. This could almost be a sung-through musical and often has that feel – the underscore subtly echoing the songs. Simon Nathan’s orchestrations highlight the variations; from a quiet harp-accompanied ballad through to the full pageantry of sweeping ensemble numbers. There are many musical highlights and just as many performance highlights. Chambers, as Marco, has a natural flair, mixing innocence with passion, carnality with self-righteousness. And a voice to match – particularly when standing alone, closing the first act with a gorgeously delivered ‘The Wanting’, or lamenting the tragic figure of his tutor Faustino (a rich-toned Greg Barnett). Jennie Jacobs stands in as a masked mezzo soprano whenever Marco is called upon to demonstrate the ‘castrato’ voice. Kelly Hampson’s Contessa Azurra is a force to be reckoned with, standing up to her corrupt yet camp husband, Pietro (a wonderful Douglas Hansell). Hampson’s solo number, ‘Amore Mio’ has a bond-theme quality, but with more interesting time signatures and shifts in tone.

There are surprises, too. When Connor Wood, as the mute Niccolo, finds his voice at a crucial moment in the story we are quite taken aback by his singing voice during ‘No Words’; and Sam Barrett’s down-trodden Luigi blossoms as he turns saviour and vocal raconteur extraordinaire with his solo number ‘Go Along’. But the one to watch out for is Jewelle Hutchinson, stealing the show whenever she walks on stage as Gioia. Spirited and ballsy (ironic given her paramour’s deficiency in that department), Hutchinson lets Gioia’s vulnerability cut through as well. And all the while her rich, wide-ranged vocals pierce our hearts.

The performances bring a heightened energy to the stage that befits the setting and the storyline. Cementing the sense of period are Anna Kelsey’s glorious and flamboyant costumes. Passion is the key word for this show. And drama. Sometimes melodrama slips in which, if you’re not paying attention, can hide the flaws in the narrative. It does feel as though a trick or two is missed, and certain themes are underexplored while the finale comes a little too quickly and too forced. That frustration aside, this is a luscious musical that intrigues and teases with, rather than pulls, our heartstrings. Full of light and shade, musically as well as visually, it might not penetrate quite as deeply or cleanly as a stiletto, but it certainly gets under your skin.

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”

A CHRISTMAS CAROL

Old Vic

Reviewed on 25th November 2025

by Hannah Bothelton

Photography by Manuel Harlan

Previously reviewed at this venue:

A CHRISTMAS

A CHRISTMAS

A CHRISTMAS

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

STILETTO

Charing Cross Theatre

Reviewed on 31st March 2025

by Jonathan Evans

Photography by Johan Persson

Previously reviewed at this venue:

STILETTO

STILETTO

STILETTO

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