DramaLondonReview

A Christmas Carol – Middle Temple Hall, London

Reviewer: Maryam Philpott

Book and Lyrics: Ben Horslen and John Risbero

Music: Nick Barstow

Directors: Ben Horslen and John Risbero

Since Antic Disposition first staged its version of A Christmas Carol in 2012, there now seems to be a surfeit of Dickens’ beloved festive tale and London audiences have their pick of shows staged with equal regularity at the Old Vic, which even served a virtual audience during lockdown, the Bridge Theatre and many other venues. But, as Antic Disposition’s programme notes explain, there were eight rival theatrical adaptations running concurrently mere months after the novel was originally published so it’s hardly a new phenomenon. How do you choose between them? Well, Ben Horslen and John Ribero’s seminal contemporary production is easily the spookiest.

A tale of self-recognition, Christmas spirit and redemption it may be, but A Christmas Carol is first and foremost a ghost story and one designed to send chills along the spine. The arrival of Jacob Marley in this production, staged once again in the atmospheric surroundings of Middle Temple Hall, is delightfully creepy with Theo Holloway’s evocative sound design creating the creaky timbers of Scrooge’s house as the bitter winter wind whistles beyond the windows and a feeling of cold doom haunts the scene. The arrival of Marley’s ghost, lit in eerie green by Risbero who is also credited as the designer, is exactly the terrifying prospect for Scrooge and the audience that it is meant to be.

And this creepy interpretation feeds through the remaining spectral visitations with the Ghost of Christmas Past pushing Scrooge to his emotional limits, the Ghost of Christmas Present taking him to see the troubles of miners, lighthouse keepers and the ragged figures of ‘ignorance’ and ‘want’ (so often excised from the jolliest spirit’s chapter. The future is painted in dark tones aided by Nick Barstow’s intense choral soundtrack to generate a sinister and hefty shake to Scrooge’s self-control.

Sometimes A Christmas Carol can be almost cartoonish with a central character who is so mean-spirited to be almost too unlikely, but not here. Sticking close to Dickens’ original narrative, there are emotional lessons for the lead at every turn, exploring the reasons for his miserliness and lack of feeling. Horslen and Risbero choose to show a man who has forgotten how to connect to others. His journey into the past is a poignant reminder of the capacity for joy and fun that is missing from his life, making him seem all the lonelier – a piece of himself he need only rediscover not develop from scratch.

David Burt has been playing this character since 2014 and continues to find new layers within it. The credibility of the change is well managed, and Burt judges the turning point moments well, creating a sense of a man thawing across the performance rather than suddenly becoming a better person. The small ensemble cast play multiple roles convincingly including Richard Dempsey as Bob Cratchit, an adorable Dylan Hall as both Tiny Tim and the child Scrooge and, in another clever piece of doubling, Jack Heydon as Fred and his uncle in his Fezziwig years.

A Christmas Carol is also a musical but not in the traditional sense. Songs are used really thoughtfully to add occasional narration or to convey place and period, using existing carols with new lyrics, rather than as psychological insights into character. While sometimes the actors cannot compete with the band led by Ben Everett-Riley, it is an interesting substitute for a detailed set that works extremely well, while prioritising Dickens’ text.

A Christmas Carol is story that never seems to age but nor does this Antic Disposition production. Still going strong a decade on, for a smart combination of venue and ghostly thrills, this is the version to pick.

Runs until 29 December 2022

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The Reviews Hub London is under the acting editorship of Richard Maguire. The Reviews Hub was set up in 2007. Our mission is to provide the most in-depth, nationwide arts coverage online.

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