Tag Archives: Rachel Moran

A Christmas Carol

★★★★★

The Old Vic

A CHRISTMAS CAROL at the The Old Vic

★★★★★

A Christmas Carol

“The quality and theatricality of this production is unparalleled”

Few pieces of literature have had such a profound impact on how we think of Christmas today as Charles Dickens’ A Christmas Carol. Has the festive season truly begun unless you’ve read the book, seen a TV adaptation or listened to the Great Gonzo and Rizzo the Rat tell their version of events? With so many adaptations across different mediums it’s hard to pick favourites, or see in advance what another one might bring to the table.

Enter Matthew Warchus’ production at the Old Vic, now in its fifth year at the venue and with US, Irish and Australian versions on the roster. Having passed the poster for the show many times over the years, I have cynically thought this production would be more about fattening the goose of the Old Vic at a time of thin gruel for theatres. This may well still be true, but there are more joyful reasons I am now sure this show comes back, year after year.

The quality and theatricality of this production is unparalleled. The auditorium of the Old Vic is transformed with a cross-shaped stage to bring the audience in to the action, quite literally, with mince pies and satsumas handed out by ushers and actors before they seem to spontaneously start to perform. Recognisable carols are sung by the cast throughout, elevated by the tinkling of handbells and supported by a string quartet some of whose members occasionally grace the stage to play the fiddle alongside the chorus. It leans in to the best parts of live performance with aplomb – audience interaction, mesmeric set and resonant live sound to fully immerse the audience in Dickens’ Victorian Southwark.

“The final act is full of Christmas magic that will have you gasping in awe”

Eccleston is fearsome as Dickens’ miserly Mr Scrooge, a character whose name and exclamation of ‘Bah Humbug’ have become shorthand for anti-Christmas sentiment. He embodies the tight-fistedness of the role, striding across the stage sweeping his tattered coat behind him and adding a Shakespearean flair to his enunciation. Jack Thorne’s adaptation gives more depth to Scrooge’s backstory, finding the cause of his fastidiousness to finance in the debt-ridden woes of his father and desire to provide for his first love Mr Fezziwig’s daughter, Belle, artfully portrayed by Frances McNamee.

One of the reason’s this 180 year old story is so enduring is its message of hope and charity. Who couldn’t be moved by the Cratchit family? It’s not just Tiny Tim, adorably portrayed by Freddie Merritt as one of four actors on rotation, but the warmth and adoration of Rob Compton as Bob Cratchit for his darling wife despite the meagre mealtime offerings that warms the hearts of the audience and Mr Scrooge. His evolution to a man who “knew how to keep Christmas well” is delightfully uplifting with so much to see and be excited by. The final act is full of Christmas magic that will have you gasping in awe as a result of Rob Howell’s set and costume. Full credit due to the expertise of the full crew for delivering such a thrilling production.

Isn’t a production like this just what we love about Christmas? The ritual. The repetition every year of the same decorations, carols, movies. It allows us to live in a world where nothing has really changed, everything is simple, and there is promise that we can reset and start over again. No matter what there is to come or what has gone before, we are safe in the knowledge that at this time of year we know the next line, and the one after that. No matter if it’s Christopher Eccleston, Michael Caine, or Suranne Jones delivering it. Make this show a Christmas tradition, particularly if you have young children. It converted this Scrooge and will you too.


A CHRISTMAS CAROL at the The Old Vic

Reviewed on 22nd November 2023

by Amber Woodward

Photography by Manuel Harlan

 


 

 

Previously reviewed at this venue:

Pygmalion | ★★★★ | September 2023

A Christmas Carol

A Christmas Carol

Click here to see our Recommended Shows page

 

& Juliet

& Juliet

★★★★

Shaftesbury Theatre

& Juliet

& Juliet

Shaftesbury Theatre

Reviewed – 7th April 2022

★★★★

 

“undeniably good fun and any viewer will be blown away by the sheer grandeur of the production”

 

What if Romeo and Juliet didn’t end so tragically? The hit West End musical & Juliet (directed by Luke Sheppard) sets about answering exactly that by giving Juliet (Miriam-Teak Lee) a second chance at life. When Shakespeare (Oliver Tompsett) is convinced by his wife Anne Hathaway (Cassidy Janson) to write the play’s famous conclusion, Juliet and her best friends Anne, May (Alex Thomas-Smith) and Nurse (the incredible Keala Settle of Hands on a Hardbody fame) embark on a wild trip to Paris to live out their lives without restriction. A love triangle with the sweet Francois (Tim Mahendran) soon unfolds and things get all the more complicated when Romeo (Tom Francis) comes back to life…

The fantastical reimagining hinges around a selection of world-famous pop hits by the Swedish producer and writer Max Martin. Song after song is hurled at the audience, some more fitting than others to the scenario at hand. The Backstreet Boys’ ‘I Want It That Way’ is reprised several times to really highlight the message of the musical – the importance of making your own choice. Demi Lovato’s ‘Confident’ is a particularly enjoyable number which Juliet and Francois belt out with gusto and ‘Oops!…I Did It Again’ is comically employed when Juliet finds herself engaged after only one day of romance…again.

Max Martin’s songs are great crowd pleasers and a lot of fun but the jukebox musical always suffers by its song limitations and the songs already feel dated only three years after the musical’s release. There is also no one song that packs a real punch. The incredibly strong voice of Lee is unfortunately underused and apart from the finale song ‘Roar’ (by Katy Perry), our lead does not have a big number that she can really sink her teeth into. The band – led by Patrick Hurley – do a phenomenal job of keeping up with the incredible pace of the production with 29 total songs and countless other reprisals.

Lee is phenomenal – we will no doubt be seeing much more of her. Janson and Tompsett have great chemistry and expertly guide the story on its ways. Settle is, as expected, an absolute powerhouse, leading on laughs but also offering particularly touching moments with both Juliet and her lover Lance, Francois’ father (Julius D’Silva). The choreography (Jennifer Weber) is very strong and brings a real energy to the production.

The cast should also be praised for its diversity – in both gender expression and ethnicity. It is refreshing to see so many different types of people on stage and Janson’s proclamation that someone’s gender and sexuality is none of our business garners cheers from the West End audience.

The set and staging (Soutra Gilmour) is second to none. Objects and set pieces fly in and out; characters are lifted into the sky on chandeliers and balconies; pyrotechnics, glitter and confetti rains galore. The incredible production value makes certain scenes – mostly notably the finale – feel more like a concert than our typical theatre show. Accompanied by adventurous video and projection design by Andrezej Goulding, the audience is fully immersed in Juliet’s Parisian adventure. The lighting (Howard Hudson) too contributes to the great spectacle with strobes and spotlights a regular feature and Paloma Young’s neo-Elizabethan costumes do wonders to bring the whole show together.

Some issue can be taken with the show’s appearance of being a feminist corrective to Shakespeare when in fact Juliet once again finds herself centering her life around a man albeit a much nicer one than playboy Romeo. Moreover, amongst all the excitement, Juliet is left without almost any personality. Her characterization is akin to a princess in a pantomime, lacking any real goals or aims. It is a shame she does not have more vigour and that the writers did not think to give her some sort of career-orientated plot, for example.

& Juliet is undeniably good fun and any viewer will be blown away by the sheer grandeur of the production. It is just unfortunate that the general message of the importance agency is a good one is sometimes underpinned by the characters and plot itself.

 

Reviewed by Flora Doble

Photography by Johan Persson

 


& Juliet

Shaftesbury Theatre until 24th September

 

Five star shows reviewed this year:
Blood Brothers | ★★★★★ | Theatre Royal Windsor | January 2022
Holst: The Music in the Spheres | ★★★★★ | Jack Studio Theatre | January 2022
Richard II | ★★★★★ | Jack Studio Theatre | February 2022
Legacy | ★★★★★ | Menier Chocolate Factory | March 2022
Triffids! | ★★★★★ | Arts Depot | March 2022

 

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