EBONY SCROOGE

Sadler’s Wells East

★★★★

“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.

EBONY SCROOGE

Sadler’s Wells East

Reviewed on 6th December 2025

by Jessica Hayes

Photography by Pamela Raith

Previously reviewed at this venue:

SHADOWS | ★★★★ | November 2025

THE SNOWMAN | ★★★★ | November 2025

MARKING TIME | ★★★½ | November 2025

MIMI’S SHEBEEN | ★★★★ | October 2025

THE MACHINE OF HORIZONTAL DREAMS | ★★★ | October 2025

PRISM | ★★★★★ | October 2025

A DECADE IN MOTION | ★★★★★ | September 2025

SHAW VS CHEKHOV | ★★★ | August 2025

PEAKY BLINDERS: RAMBERT’S THE REDEMPTION OF THOMAS SHELBY | ★★★★ | August 2025

SINBAD THE SAILOR | ★★★★★ | July 2025

EBONY SCROOGE

★★★★

“a glowing winter treat for the very young and for anyone still young at heart”

What if the joyful heart of winter turned cold and bleak? In The Snow Queen: A Woodland Adventure, a charming new family production from Icon Theatre and the Albany, Hans Christian Andersen’s winter tale is reimagined as an intimate, interactive woodland quest. Directed and written by Nancy Hirst, the show follows the mice Gerda‘s adventure through a frost-bound forest to break the Snow Queen’s spell—a journey that becomes as much about collective warmth as it is about seasonal magic.

The production’s welcoming, immersive atmosphere begins the moment families enter performers greet children in character, colourful seating draws them forward, and the pre-show becomes part of the world. Participation flows naturally from there—children help find missing socks, play musical statues, vote in a ceremonious “best cheese” contest, and later join hands (or elbows) to steady the “magic boat” crossing an icy river. Each moment reinforces the story’s themes of cooperation and shared courage.

Eve Pereira’s Gerda is the emotional anchor of the piece—sweet, earnest, and instantly inviting. She is warmly supported by Freya Stephenson as the caring Mother Mouse and Henry Regan as the spirited Kai. The ensemble handles multiple roles with ease, though it is the chemistry between Pereira and the young audience that truly fuels the narrative.

Visually, the show is delicately enchanting. Laura McEwen’s set and costumes evoke Bluebell Wood with crisp simplicity, gradually overtaken by the Snow Queen’s chill. Callum Macdonald’s lighting deepens this transformation, shifting from warm woodland glow to glittering frost with a sense of genuine magic. These transitions capture the emotional stakes of the story—the tug between warmth and cold, belonging and isolation.

Eamonn O’Dwyer’s music provides the production’s beating heart. The melodies are simple, memorable and accessible to young voices. When the audience joins the cast in singing “Shine, Star, Shine,” lighting a star overhead through collective song, the effect is quietly moving and beautifully pitched to families.

While not all elements land with the same gentleness. A few sharper words used in moments of conflict (“mean,” “loser”) feel slightly misaligned with the show’s otherwise tender tone and its intended age bracket, sadly pulling some parents out of the spell. Similarly, the Snow Queen’s monologue leans toward the didactic where physical storytelling might better captivate young viewers. A tighter, more physically expressive opening could also help audiences settle into the world more swiftly.

Even so, The Snow Queen: A Woodland Adventure succeeds as a visually engaging and musically uplifting piece of participatory theatre. Its greatest strength lies in recognising that children respond most deeply when invited to co-create the magic rather than merely watch it. The finale—snow drifting down as cast and audience unite in song—beautifully encapsulates this spirit. With its empathetic performances, thoughtful interactivity and a warm celebration of friendship, it is a glowing winter treat for the very young and for anyone still young at heart.

Tag Archives: X25

EBONY SCROOGE

★★★★

Sadler’s Wells East

EBONY SCROOGE

Sadler’s Wells East

★★★★

“a heartfelt tale of legacy and healing”