A Christmas Carol

It’s a brave and forward thinking company that adapts its own production from a classic novel or novella, and this version of Charles Dickens’ classic tale has been given this special treatment by an experienced adapter of classics, who also directs and acts in it as well. Set in the correct time period, the set opens on a multifunctional space with Scrooge’s front door downstage left, and the inside of his office upstage right. The use of the centre of the stage to be wherever needed at the time is a lovely modern touch to allow the audience to follow and imagine with ease every venue needed, be it Fred’s parlour or the Cratchits’ house and everything else in between.

This is a well-rehearsed piece where everyone involved knows exactly what they are doing and this helps to set the audience at ease, relaxed, to enjoy the classic story that most people will already be familiar with: miserly old Scrooge with his heart made of stone, visited by four ghosts at Christmas: his old business partner Marley, and the ghosts of Christmas past, present and yet to come. It is the spirits of Christmas showing him the various aspects of his life, including the crucial connection with Bob Cratchit’s ill son Tiny Tim, as well as fear over what will become of himself unless he changes, that sees him waking up on Christmas Day a completely different man.

The programme says only 11 actors are in this production and considering how many characters are portrayed, it seems hard to believe. Every one of them except Scrooge plays many multiple characters and they flow effortlessly between scenes and times. Also notable are the scenes involving the spirits and Scrooge visiting his past, present and future: you honestly believe the other people can’t see them, which is so tricky and extremely well done. Andy Clarke does an amazing job as Scrooge, in almost every single scene: gruff, with a touch of Jack Nicholson brooding, physicalising his internalised dislike and disgust of those around him. The difference in the end tableau, where he straightens and faces the world a changed man, is a visual delight.

The costumes are sumptuous and totally in keeping with the time period. The Spirit of Christmas Yet To Come’s costumes and movement with draped ragged cloak and skeleton arms was lovely, but it would have been good to see either the cloak come further down his arms or the skeleton arms go further up: the ending of skeleton gloves and seeing quite a lot of arms rather took away from the effect that was trying to be achieved. The furniture used when needed was just right; the vegetable market stall that turned into Scrooge’s bed when rotated was genius: super job on the set design and construction to Caroline Saunders and her team, and for the mirror which David Tettersell as Jacob Marley came out of looking every bit the Alec Guinness version, which is true to Dickens’ description in the story.

There are so many details added and things to love about this production, including the Christmas Carols in the theatre before the show started, and the ghostly soundscaping through the speakers which was fabulously eerie. The use of a silhouette on a chair to indicate young Scrooge at school was brilliant, and the moment a shaft of light illuminated both Scrooge and Christmas Present on stage was gorgeous. The ambient street noise that could suddenly be heard when Scrooge opened a window was such a lovely touch as well. These details make a production very special.

The acting was really lovely, so strong across the board. Stuart Lawson was such a worn down and defeated Bob Cratchit, which is absolutely right. His enthusiastic clapping Fred’s speech until he sees the look from Scrooge is an example of how all the actors had thought long and hard about all their roles and prepared beautifully, including Margaret Doherty as a delightfully believable Old Sal. Rob Tremayne, who also directs and adapted the story, is always wonderfully watchable and his confident almost delight and swagger as nephew Fred was a bright contrast to the “bah humbug” of Scrooge’s life.

The use of fog was lovely to add ambience to the time, however the positioning meant it went straight to the audience instead of staying on the stage, which sadly resulted in a lot of audience using programmes to fan the fog away and a good deal of coughing in the audience, as the fog kept being turned on. There was a fair bit of narration through the speakers which was a little quiet, even from  the front rows, that could have been a little louder. The flow of the scenes with no gaps was a really lovely modern theatre touch, however, it would have been good to see cast to bring on furniture and move things or for stage crew to be costumed up, which would have made them part of the story and not so distracting and sometimes loud when a scene is going on downstage.

There is much to admire about Robert Tremayne’s adaptation: the addition of the current old Scrooge facing off against the young Scrooge from the past and the actors freezing were lovely moments. However, as Scrooge’s connection with the pure goodness of Tiny Tim is part of why he changes, to only have Tiny Tim referred to and not seen at all on the stage was a disadvantage. The Ghost of Christmas Yet To Come turning into young Scrooge from the past and directly addressing current Scrooge was an interesting idea yet a significant plot point departure from the storyline of the classic tale that would cause consternation amongst many fans of Dickens. The otherwise authentic adaptation is laudable and should be commended, the use of Dickens’ own dialogue is a lovely touch.

This is a beautifully directed production full of warmth, although a couple of characters with direct address to the audience where the audience almost responded had the effect of tipping over into almost panto style moments which is unfortunate. Everyone involved has created a well-rehearsed and well thought out piece, reminding us of kindness and charity to others, which is always welcome and always needed. They have all clearly enjoyed working on this and have created something to of a high standard to be proud of. Congratulations to everyone involved.

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