A Christmas Carol adapted by Peter Denyer

This is a NODA Panto script dramatized adaptation of the book for actors with a wonderful singing finale. Something a little different for the festive season. The strong moral of Dicken’s writing is as relevant today – Scrooge spent a lifetime accruing wealth and forgot the joy of family and friends and his pursuit of money does not make a person happy. So be kind and generous. A wonderful Christmas message.

The audience is sitting in the auditorium of  a Victorian Theatre, atmospheric with flickering lanterns hanging above. It is biting cold, foggy and there are the sounds of dogs barking in the shadows. Richard Baszcsak in the role of nervous Theatre Manager introduces one of England’s greatest  novelists played by versatile Keith Miller enter walking along the central aisle to the downstage lectern  to beautifully narrate Dicken’s book about Ebenezer Scrooge who considers Christmas as humbug, his visitations of his old dead partner Marley and the Ghost of Christmas Past, Christmas Present and Christmas Future who changes demeaner, charitable ways with both his family and of Bob Cratchit – his loyal hardworking low paid clerk.

The proscenium arch designed by Trevor Lewing with his usual great attention to detail was decorated in a rich red with lush gold stencils surrounds the gloomy offices of where the commanding figure of Scrooge sternly characterised by Tom Miller at his desk one side of stage with Bob Cratchit sympathetically played by Steve Hill, blanket around his knees on the other, both writing with mittened  hands, into ledgers with quill pens in the flickering candlelight late into the day. The bare brick wall at the rear of the stage there hung a central black curtain which swung on rollers by the stage crew  converted into a curtained four poster. The stage left wall had a moveable flat with a door which doubled for Scrooge’s front door with a knocker and peep hole cleverly showing the ghostly face of Marley and altered angle for the Cratchit’s home, Cousin Fred’s sitting room and Fizziwig’s warehouse. An excellent roll-on fireplace graced the rear and members of the cast added Christmas garlands, a tree, a large, dressed Christmas table including a wonderful turkey – before and after plucking Jenny Turner what patience with all those feathers!

With the help from other societies Margie Pock and Linda Marshall dressed the cast with great eye for details – perfect period head gear, toppers, bonnets etc. Four most effective Ghosts appeared David MacDonald a clanking chained Marley with Charlotte Eastes Christmas Past topped with Christmas wreath, John Buckle with his staff and wreath headdress  Christmas Present with Bill Pocock black hooded Christmas Future.

The larger than usual  cast other than Dickins and Scrooge doubled and trebled up on characters and young James Miller who shone not only as Tiny Tim but delighted  as a Carol Singer, boy Scrooge, Ignorance and an urchin too. Some lively characters were created and I particularly enjoyed Sarah Bragoli’s  Mrs. Fezziwig and her cockney Mrs Snitchey characterisations. Lovely to see younger members too taking part with so much confidence and the addition of newbies. A great collaboration and I look forward to the 75th  anniversary celebration next year.

A highlight was the whole company engaged in a rousing and jolly Sir Roger De Coverley dance routine which was designed by Giselle Youseman well-rehearsed and performed. Sound effects and lighting a credit to designers John Buckle and Keith Miller. With  splendid musical arrangements by Ron Simpson with rousing vocal finale from one and all, and drawn together with support from F of H, SM and crew, artwork and publicity from Lucy Hogg with boundless energy from Ann Hohenkerk and Giselle who directed and produced a first-rate Christmas Carol.

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