★★★

“a fun festive evening in the hands of an assured cast”

If you’ve ever wished that festive romcoms were stuffed with more innuendos, dance breaks, and maybe even a throuple, then Santa must have you on the nice list. Written by Neil Hurst and Jodie Pranger, Lovers Actually is a musical parody based on the 2003 film we all hate ourselves for knowing inside out. Your favourite bits are here (the gift wrap scene is taken to gasp-inducing new heights), and the boring bits are not (thankfully no sign of Colin whinging that British girls don’t like him).

An ominously large gift wrapped in a red bow flanks the stage on entry, but when the lights go up it turns out to be a giant advent calendar of sorts, with set pieces and props unfolding from the many doors. This does a solid job of taking us from Downing Street to Albert Square and everywhere in between in pursuit of happy endings for all our lovers, who you’re bound to be familiar with, even if you can’t remember any of the actual character names from the 2003 film.

Under Alex Jackson’s direction, the cast nimbly skip through the interweaving plotlines, each character in pursuit of a lover, with varying degrees of success and vulgarity. Louie Whitemore’s costumes are put through their paces, with a single blonde wig doing some heavy lifting to define three different characters, based on how jauntily the wig is placed. The actors bring the costume quick change mayhem to the audience for laughs too, along with solid musical performances and well-judged pantomime glances when props refuse to behave and the set disobeys them. It’s hard to pick favourites when we’re not just dealing with the original Love Actually character list, but additional meta versions of the characters based on the actors that played them. Joseph Beach is hilariously and unnervingly intense from the outset as Liam Neeson from Taken dropped into Liam Neeson from Love Actually’s story. And Holly Sumpton’s comic timing is stellar – her Emma Thompson made us cackle sooner than I would have thought possible after the final chords of Joni Mitchell’s Both Sides Now.

Lauren Hopkinson has reworked classic carols and the entirety of ‘Now That’s What I Call Christmas’ into raunchy new numbers, which Martha Pothen brings particular vocal accomplishment to. But some of the arrangements are just a bit long, and it hampers the show’s impressive laugh-per-minute rating. ‘Baby It’s Cold Outside’ is the best of the bunch, with a crooning Bill Nighy (Joseph Beach) and his manager Joe (Ross Clifton) delivering pure joy (and jazz hands) ensuring every line brings a new laugh.

The script eventually becomes a victim of its own successes. There are some truly unexpected punchlines and digressions which are such fun rides that it’s actually disappointing to see the whole thing bookended by twee speeches from our Hugh Grant. The show is at its best when calling out the original script in ways we haven’t seen or heard before, and when the meta layering of characters reaches ridiculous heights.

Don’t go if you’re not ready to hear every single Christmas song ever released given a debaucherous twist. Do go if you’re looking for a fun festive evening in the hands of an assured cast, and you’re keen for something more grown up than a panto. This show is like a box of Celebrations – a few of the gags might not be to your taste, but gorging on the whole thing with a sing along is a merrymaking experience.

A CHRISTMAS CAROL

Alexandra Palace

★★★★

“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.

LOVERS ACTUALLY

The Other Palace

★★★

“a fun festive evening in the hands of an assured cast”

LOVERS ACTUALLY

The Other Palace

Reviewed on 26th November 2025

by Jessica Hayes

Photography by Pamela Raith

Previously reviewed at this venue:

LOVERS ACTUALLY

LOVERS ACTUALLY

LOVERS ACTUALLY

A CHRISTMAS CAROL

Alexandra Palace

★★★★

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