A Christmas Carol - The Musical

A Christmas Carol: The Musical, composed by the legendary Alan Menken with book and lyrics by Lynn Ahrens and Mike Ockrent, is an adaptation of Charles Dickens classic. The musical transports audiences to Victorian London, where the miserly Ebenezer Scrooge undergoes a transformative journey guided by the spirits of Christmas Past, Present, and Future..

This is a well-known and much-loved story and has some major staging requirements to overcome to be successful. We are very pleased to say that you met both the storytelling and technical aspect challenges and put on an excellent production.

The Hippodrome is an- enormous staging space and to develop and assemble your own set  - particularly one so detailed and effective was a real triumph. The multi-layered design created some real stage depths, from the incredible two two-storey buildings on either side set the scene (which then rotated in act 2 for the inside of the Cratchit and Nephew Fred Houses), with the detachable external staircases, through to the movable bridge at the back and the London Skyline. The co-ordination of this was incredibly complex and worked really well. The bedroom fabric-swathe effect looked excellent and was well-flown in. Overall, the staging was a real triumph of the production.

There were a lot of stage tricks to manage too – from Marley’s ghost appearance to the floating bed sheet, the two-way mirror and Marley’s flying sequence.   The switch of Scrooge at the end was really well handled and the snow over the audience at the end was a really effective conclusion. Stage transitions overall were really well managed in general by the cast to maintain the flow of the production.

The Lighting was excellent too. Haze was well used for the London fog effect but also to create some incredible atmospheric effects with beams and patterns of light. There was a good use of the gauze at the start, creating a real sense of drama. There was an exceptional use of complimentary and unusual colouring which worked really well, enhancing the joy of the Fezziwig Party through to the gothic horror effects required elsewhere, particularly with both Marley and the Ghost of Christmas Future.  There was so much to take in and it was so well-integrated with the staging that this just does not feel like it does it sufficient justice, but it was very, very impressive. There was an effective use follow-spot as needed in addition.

The Sound was very good too for what can be a difficult venue. Microphones were effectively cued with a minimum of issues. You could tell how well the chorus were amplified too when there was a brief issue in Act 2. Balance with the band was excellent and well-mixed. Sound effects used were very effective and well-cued.

Properties are perhaps not something always noticed, but these were quite excellent throughout in terms of quality and detail. The street sellers, for example really had everything to sell on their stalls. Costumes too were incredible too, in terms of suitability, quality, quantity, detail and range.  Principal costumes were very well put-together. With the ensemble you resisted the temptation to just cast everyone the same – mixing in other, (the sailors were an example) to create a real depth of characterisation here which I loved. Hair and Make-Up had to cover a real range, from street characters to ghosts and were all most effectively managed.

The carefully thought-out choreography was outstanding and captured the bustling streets of Victorian London, the merriment of Fezziwig’s Ball to the eerie Graveyard scene so well.  It was well co-ordinated too, so that it looked incredibly effective with the company, whilst keeping the principle action at the centre of the stage without distracting from it – no easy task.

The directing was of a very high standard. In reviewing the principal performances:

Scrooge. This portrayal of Ebenezer Scrooge, was played well, with nuance, and we saw the character's transformation clearly with strong vocals and great physicality.

Bob Cratchit was portrayed with warmth. I could see a lovely relationship with your family.

Emily Cratchit: a lovely performance demonstrating the strong family connections and the frustration with Scrooge’s treatment of your husband very well.

Marley: A strong character and I really enjoyed your song “Link By Link”

Ghost Of Christmas Past: Beautiful vocals and lovely calm performance contrasting nicely with Scrooge’s confusion and panic.

Ghost of Christmas Present: Another strong and exuberant performance. I also particularly enjoyed the Goose in his number “Abundance and Charity”

Ghost of Christmas Future: Really well portrayed with some strong dancing in your number “Dancing on Your Grave” which I really enjoyed.

Mr Fezziwig and Mrs Fezziwig: A strong duo, lovely characterisations, “Mr Fezziwigs’s Annual |Christmas Ball” was a highlight for me.

Fred, Young Scrooge, Young Marley and Belle all gave very strong performances.

Tiny Tim gave such an endearing performance, and his famous final line was delivered perfectly.

The ensemble were all outstanding with their vocals/characterisations and choreography all executed to a very high standard. The chorus scenes were really quite incredible in terms of complexity, effectiveness and the range of movement, from the street scenes to the Fezzywig Ball, the Mother Goose Pantomime and the Christmas Future routines.

The band was expertly managed under Musical Director Brendan Casey and the music and vocal performance throughout the whole production was generally excellent.

I was so impressed with the youth company, it was lovely to see them fully incorporated in all of the action with some lovely cameo performances throughout, again demonstrating some very strong vocals, dancing and characterisations.

All in all, this was another excellent show from BLOC Productions across the board and the audience loved it too!  Very well done!

 

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that his assessment will be effected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances, and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

 

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