A Christmas Carol - The Musical

As November drew to a close, the festive spirit was alive at St Neots Parish Church, where VAMPS delivered their rendition of “A Christmas Carol: The Musical” by Alan Menkin. The ever-energetic cast came together to transform the church’s centre into a purpose-built stage, with the audience enveloping three sides, creating an intimate and immersive theatrical experience.

Opening night brought with it a few hiccups—most notably seating delays and some visible nerves among the performers. However, once underway, the ensemble swiftly settled, launching the audience straight into the bustling streets of Victorian London. With 24 actors filling the stage and aisles, the room was alive with activity. The choreography (Katie McArthur) and direction (Jacqueline Coleman) made clever use of the space, maintaining a brisk pace and keeping the audience engaged throughout.

Regrettably, the production was plagued by familiar sound issues that have affected previous shows in this venue. While the volume was improved from last time, the audio balance was very inconsistent, making it difficult to distinguish lyrics, particularly during solo performances by key characters. The work of Jay Tucker (musical director) were not in vein and in some places I could pick out the harmonies and could hear that they had been well drilled. Post show the society acknowledged these concerns, offering hope that such problems would be remedied for the rest of the show run.

Sound troubles aside, the cast’s dedication shone through. The Fezziwig’s Annual Christmas Ball stood out as a particular highlight, with choreography that allowed everyone to participate and made excellent use of the available space. The lively square dance sequences, complemented by more intricate routines from the dancers, exuded festive energy. Emma Driscoll, the society’s chair, captivated as Mrs Fezziwig, commanding attention with her dynamic stage presence and infectious enthusiasm.

Scrooge, portrayed by Keefy Jenkinson, delivered a classic interpretation of the miserly protagonist, with a particularly satisfying transformation come Christmas morning. The children—Team Scrooge—held their own alongside the adults, with Tiny Tim (Otta) tugging at the audience’s heartstrings and working seamlessly with Bob Cratchit (Barnaby Wainwright), whose portrayal was both heartfelt and authentic.

Act 1 was further enlivened by Young Ebenezer (James Tortise-Crawford), who captured the character’s formative years and romance with Emily (Ellie Davidson). Their emotive acting brought depth to the story. The Ghost of Christmas Past (Jen Nicholls) impressed with a clear, haunting voice and ethereal movements that complemented the score beautifully.

Special effects were carefully considered, with white and blue lights adorning the dancers’ fingertips and encircling Marley’s face (played by Malcom Crawford)—a subtle, ingenious and standout touch.

Act 2 continued this theme, introducing red and green lights during the Ghost of Christmas Present’s (Beck Cole) comedic sequence, which provided a refreshing contrast to the ominous Ghost of Christmas Future. The latter ghost, portrayed silently and menacingly by Emily Plattern, mimicked the movements of an imposing ten-foot skeleton puppet (designed and built by Nat Różańska), filling the stage and adding a sense of grandeur to the proceedings. This innovative special effect was another standout moment.

The final act swept the audience into the lively streets of London on Christmas morning, showcasing further crowd choreography and making full use of the ensemble. The stage, eventually blanketed in snow, provided a truly festive conclusion.

Despite the sound difficulties, VAMPS succeeded in delivering a visually captivating performance. The familiar tale, combined with the cast’s energy and commitment, ensured that the spirit of Christmas was not lost. As the curtain fell, I found myself leaving St Neots feeling decidedly more festive and ready for Christmas.

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