★★★★★

“a show brimming with invention, precision, and joy”

“How Does Santa Go Down the Chimney?” may not offer one definitive answer—but it conjures a hundred possibilities, each more delightful than the last. This enchantingly crafted production at the Unicorn Theatre, adapted from Mac Barnett’s book, turns a childhood question into pure theatrical magic.

The festive magic begins the moment audiences enter the space. Each seat carries a Christmas headpiece, turning the auditorium into a sea of bobbing reindeer antlers and Santa hats. A gentle Scandinavian folk melody drifts in as an endearing reindeer appears, inviting the audience to join in song. Only later do we realise that this reindeer is also Frida Cæcilia Rødbroe, the show’s composer—whose musical wit and stage presence bookend the production with spirited charm. One standout moment is when Frida sings “Daddy put the key under the flower pot!”—to tie the gag together with satisfying wit.

Sonya Smullen’s set design is a masterclass in evocative simplicity: a clean snow-white world accented with deep red velvet, a multi-purpose prop that cleverly transforms into a washing machine, television, chimney and printer. The sudden appearance of a giant Santa leg punctuates the space with playful surprise, while the overall aesthetic remains elegantly minimal—a stage that feels both intimate and infinitely imaginative.

Mikey Ureta’s Santa is a burst of energy, breaking into rhythmic footwork and breakdance-inflected moves that electrify the stage. His Santa is amplified, duplicated and reimagined through the ensemble: Nathan Queeley-Dennis and Giulia Innocenti (hilariously memorable as a disgruntled washing-lady) contribute sharply drawn character moments that keep the energy bouncing across the stage.

What truly sets this production apart is its fearless embrace of interaction. The fourth wall isn’t so much broken as joyfully dismantled. Children are invited to sing, shout clues, tighten Santa’s belt, and even join “dog” patrols sniffing through the aisles. One particularly triumphant moment sees a young audience member “rescue” the key—a gesture that sparks cheers across the room. Even the modern dilemma of Santa entering flats and high-rises is handled with humour and contemporary flair.

Throughout, the sound design by Esther Kehinde Ajayi and live foley effects performed by the cast create a delicious sonic landscape: from “Santa Baby” riffs to playful Mission Impossible beats to a hand-tapped “Merry Christmas.” With minimal spoken text, the show relies on rhythm and precision—and it never loses its audience for a second.

Director Paul Hunter demonstrates an impeccable understanding of children’s theatre. His adaptation balances clarity with imaginative mischief, ensuring every setup receives its payoff. The puppet-to-actor translation is handled with generosity and playfulness, keeping the world inventive and emotionally alive.

The emotional climax arrives quietly yet powerfully: a child from the audience is invited to “switch on” the great Christmas tree. As lights surge and the opening melody returns, the space glows with a sense of shared wonder. This is a show that understands imagination as a collective act—one where children and adults play side by side.

This is a show brimming with invention, precision, and joy—every element tightly interlocking in a way that feels both thoroughly modern and deeply magical. If there is one regret, it is only that the imaginative answers to how Santa goes down the chimney must eventually come to an end. A triumph of festive theatre, and a gift to audiences of all ages.

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.

HOW DOES SANTA GO DOWN THE CHIMNEY?

Unicorn Theatre

★★★★★

“a show brimming with invention, precision, and joy”

HOW DOES SANTA GO DOWN THE CHIMNEY?

Unicorn Theatre

Reviewed on 26th November 2025

by Portia Yuran Li

Photography by Manuel Harlan

Previously reviewed by Portia:

HOW DOES SANTA

HOW DOES SANTA

HOW DOES SANTA

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”