★★★★★

“It all builds to a delightfully satisfying panto-esque cacophony of characters”

With only three actors on a tiny (but intricate) set, Abigail Pickard Price’s magical adaptation of David Copperfield somehow brings an entire Dickensian universe to life, deliciously populated with a stream of vibrant characters, the requisite plot twists, and an attention to detail that would make Charles Dickens proud.

As a young David Copperfield (Eddy Payne) flees his stern and violent stepfather to seek his way in the world, Neil Irish’s masterfully evocative set and costumes bring us inside law offices, outside onto small village streets, and even into the sea and along its rocky shore with no more than a cleverly placed piece of fabric here, or a stackable trunk there. Together with the soundscape (Matt Eaton), lighting (Mark Dymock), and movement direction, the overall design seamlessly journeys from place to place and character to character. Each scene change is more creative and surprising than the next – and yet never distracts from the story’s momentum.

The acting is exemplary – every character is finely drawn and a tribute to Dickens’ imagination and keen observations of human nature. Louise Beresford morphs from cunning villain to cocky scoundrel to radiant love interest without a glitch. Luke Barton brings utterly absorbing heart and individuality to each of his nine characters. The verbosity and geniality of his Mr. Micawber in particular is a tour-de-force in itself. The dizzying spin of characters is anchored by Payne’s earnest and endearing David Copperfield.

Amy Lawrence’s movement direction is outstanding: whether leaping from boulder to boulder or riding in a carriage or – most impressively, being beaten by the fearsome Mr. Murdstone (who is hauntingly represented by a large brown top hat and empty coat) – the movement is so precise and believable that the audience becomes willing conspirators with the ensemble, suspending our disbelief and diving headfirst into this brightly painted world. What must have taken hours of disciplined rehearsal looks effortless and fun to us.

It all builds to a delightfully satisfying panto-esque cacophony of characters represented by hats and puppets and actors alike, made possible by the extremely well-oiled transitions these gifted actors have perfected.

To condense a Dickens novel of epic proportions into a two hour play on a miniscule stage is no small feat, and this production is anything but small. In her adaptation, Pickard Price expertly selects the most salient of the many details the book offers, and as a director, she squeezes every juicy morsel out of her talented team to create something that is bursting with fun and colour. Go see it. It is the perfect antidote to the long grey winter that is upon us.

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.

DAVID COPPERFIELD

Jermyn Street Theatre

★★★★★

“It all builds to a delightfully satisfying panto-esque cacophony of characters”

DAVID COPPERFIELD

Jermyn Street Theatre

Reviewed on 25th November 2025

by Samantha Karr

Photography by Steve Gregson

Previously reviewed at this venue:

DAVID COPPERFIELD

DAVID COPPERFIELD

DAVID COPPERFIELD

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”