★★★★

“a heartfelt tale of legacy and healing”

You might ask if we have any room for another interpretation of Dickens’ A Christmas Carol. How much more is there to squeeze out of Bob Cratchit and his ensemble? Well, ZooNation’s new production of Ebony Scrooge manages to find a genuinely refreshing take, exploring grief and identity through the medium of hip hop.

Dannielle ‘Rhimes’ Lecointe led the development of Ebony Scrooge as director, writer and choreographer, setting the framework of the original story against the fashion world, where Ebony reins. When she cancels Christmas to stage her best fashion show yet, the familiar trio of ghosts knock on the studio door.

The first act is the weaker of the two, as we’re slow to get into the action. There’s an animated introduction and then a narrator-led introduction, when the audience knows the beats of the story well enough to just want to get stuck in and see what this version has to offer us. Plus, the narrators disappear for long stretches, so it’s a bit jarring when they pop back in. Lindon Barr’s solo as Bob Cratchit is a highlight, mesmerisingly fluid amongst clean and crisp, but not particularly memorable, movement from the ensemble. Natalie Pryce’s costuming gives a fun, glamorous feel, and it’s impressive to watch Leah Hill pop and lock in towering platform heels, strutting around giving orders as Ebony.

We gain clearer momentum once we meet the first ghost, which is just one instance where Joanna Scotcher’s set is used in combination with lighting to enhance the movement with theatre magic. It’s frightening to see the mannequin come to life with uncanny choreography, and heed warnings from behind the gauze. The order of the ghosts has been switched, so we meet Christmas Present first, visiting Ebony’s niece Freddie at the Christmas party she’s throwing. Melissa Bravo is genuinely joyous as Freddie, her sparky movement delivered with lightness and a beaming smile, whether she’s handing out party tickets or driving a dance off. Christmas Future sees the arrival of an army of tracksuit-ed messengers, delivering the expected sombre warning with seriousness and flair.

Where the first act feels constrained by the original story, we exhale in the second half as the show expands way beyond Dickens’ building blocks and truly flies on its own. We finally meet the ghost of Christmas Past, escaping the fashion world Ebony has boxed herself into and diving into her Dominican heritage instead. There’s a beautiful fluidity to the flashback scenes which share the source of our titular characters’ grief. As the vocals fade away and the comfort of the drumbeats remains, it’s genuinely moving to watch Ebony take tentative steps towards the free flowing energy her ancestors demonstrate, and to eventually part a dance floor to reach Young Freddie. Michael ‘Mikey J’ Asante’s original music skilfully taps into nostalgia here, providing ethereal arrangements evocative of classic Christmas movies.

With solid choreography and a sharp ensemble, the dancing is as accomplished as you’d expect from the ZooNation team, but the real magic happens when the movement, music and narrative fuse into something unexpectedly tender. What starts as a funky visual spectacle transforms into a heartfelt tale of legacy and healing. This is A Christmas Carol reinvented with rhythm, warmth and unmistakable soul.

SHADOWS

Sadler’s Wells Theatre

★★★★

“A stupendous performance from a highly trained and fearless ensemble”

Not one, but two are the pieces that comprise Ballet Black’s show Shadows, each one with its own unique elements brought out by an ensemble that can only be described as extraordinary. Firstly, we have A Shadow Work, choreographed and directed by New York native Chanel DaSilva, followed by My Sister, The Serial Killer, adapted, choreographed and directed by Ballet Black’s own founder and artistic director Cassa Pancho.

Inspired by Carl Jung’s concept of the shadow self, DaSilva came across the technique of shadow work while going through her own journey with therapy. In her collaboration with Ballet Black, she creates work that focuses on the repressed aspects of the psyche and our ever changing relationship with them. She plays around with the idea of release, along with the inevitable freedom that comes when we acknowledge and accept parts of ourselves that have been rejected or deemed inappropriate.

The choreography is deeply rooted in the balance between classical elegance and refreshing dynamism. We have a dancer representing the conscious self, dressed in white, while the rest of the ensemble are dressed in black and represent all the traits and characteristics we’d rather were kept buried. There is striking individuality shining through the ensemble work and the highlight is the canons that keep the pacing exciting and edgy. The use of space is also well thought out, embracing both unison and separation and creating a living organism that beats and breathes in front of our very eyes

Natalie Pryce’s costumes are a combination of sheer tops and flowy bottoms; not particularly original, yet accentuating the detailed hand and feet movements and making the dancers seem like they float in the space. What really makes the performance pop is David Plater’s lighting design, which clearly distinguishes between the two sides of the self and plays around with clear-cut shapes and explosions of colour.

The second part of the evening, based on Oyinkan Braithwaite’s bestselling novel My Sister, The Serial Killer, heavily contrasts the first. Here we have a clear story, with specific characters, a plot and a more theatre-like quality. The scenes have a structure that resembles physical theatre, while the props and costumes also seem to become integral to the storytelling unlike A Shadow Work, where the only prop used was a box.

Korede is used to clean up her sister, Ayoola’s mess, quite literally. Ayoola kills one boyfriend after the other and Korede, though horrified, is always there to support her sister by making the body and the evidence go away. Things, however, change when Ayoola sets her eyes on the doctor with whom Korede is in love.

It’s an intriguing story, full of dark humour, smart use of the minimal set and clear characterisation through movement, especially between the two sisters. Korede is grounded and sharp, while Ayoola is like an eel, elusive and smooth. The scenes where Korede is surrounded by hooded figures, possibly manifesting the deterioration of her emotional stability, as she’s overcome with guilt, are particularly haunting and remind one of an elegant version of a zombie film.

David Plater’s red-heavy lighting design, along with Tom Harrold’s chilling score which combines strings with electronic beats, creates a disturbingly vivid atmosphere of murder and perversion. Without a doubt the catchier of the two pieces, but it seems to lack the originality of movement and emotional resonance of DaSilva’s piece.

A stupendous performance from a highly trained and fearless ensemble. Two visionary choreographers come together to create a magical double bill full of raw emotion, precision and a dive into the darker side of human nature.

EBONY SCROOGE

Sadler’s Wells East

★★★★

“a heartfelt tale of legacy and healing”

EBONY SCROOGE

Sadler’s Wells East

Reviewed on 6th December 2025

by Jessica Hayes

Photography by Pamela Raith

Previously reviewed at this venue:

EBONY SCROOGE

EBONY SCROOGE

EBONY SCROOGE

SHADOWS

Sadler’s Wells Theatre

★★★★

“A stupendous performance from a highly trained and fearless ensemble”

SHADOWS

Sadler’s Wells Theatre

Reviewed on 26th November 2025

by Stephanie Christodoulidou

Photography by ASH

More reviews from Sadler’s Wells’ venues:

SHADOWS

SHADOWS

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