Adaptor: Jack Thorne
Director: Matthew Warchus
Paul Hilton shines in this beautifully staged, atmospheric, timeless tale of redemption in the Old Vic’s traditional festive production of A Christmas Carol that succeeds in evoking the magic of this time of year.
Jack Thorne’s close adaptation of Dickens’ script quickly throws us into the life of miserly Scrooge, leaving little room for fluffy exposition as the play whizzes through introductions and spares little time in getting to the three hauntings. This is a charming production, striking a good balance between the haunting terror for Scrooge and festive cheer in a sweet finale, full of cute, magical touches perfect for a festive show, right down to the warm mince pies that greet audiences as they take their seats.
The production is steered brilliantly by the terrific Hilton, whose energetic and moving portrayal of the cruel debt collector is completely engrossing. Hilton’s Scrooge goes through a myriad of emotions across the play’s 100 minutes, enrapturing the audience in a successful crafting of the complex character. Staged in-the-round, it would be easy for subtle moments of emotional toil to be lost as Scrooge discovers his potential fate, yet this is well-managed by Hilton, directing this across the space powerfully, making it impossible to take your eyes off his portrayal.
In addition, bolstered by a strong supporting cast, the piece works hard to throw us quickly between apparitions, evoking the urgency of Scrooge’s haunting. Annie Wensak’s Ghost of Christmas Past and Kibong Tanji’s Ghost of Christmas Present, uniquely styled by Rob Howell, are effective in creating an eerie presence quickly and are part of a larger ensemble that, often frantically ringing handbells to the tune of instantly recognisable Christmas carols, evoke a charming atmosphere.
It is not just the acting that succeeds in this piece. The production’s design, too, is gorgeously crafted, with Hugh Vanstone’s lighting designs, aided by a stunning array of Victorian lanterns suspended from the ceiling, which is effective in evoking the dim Victorian era, through to the supernatural visions which haunt Scrooge. Howell’s set design, too, in which doorframes pop up and down at various moments, works well in the round and makes the blending of the real with the apparitions clear. The addition of falling snow is a nice choice and helps to reinforce the play’s spellbinding charm.
Furthermore, the Old Vic’s current in-the-round configuration also brings to life not just Scrooge’s haunting, but the vibrancy of his change of heart too. The intimacy of the staging allows for close observation of Scrooge’s change in character, but it also invites the audience to be part of his festive merriment, too. It is hard not to be completely swept up in Christmas cheer, along with Scrooge, when, as an audience, you are handing food for the feast to the performers or being covered in snow.
A Christmas Carol remains an utterly charming production, with a warmth and vigour that defrosts even the most humbug of hearts. Each lead, which changes with each winter season, brings something different to the role with Hilton’s Scrooge a frantic, desperate man, certain of change, and is completely compelling. While Scrooge’s story is well over a century old, the play’s message and its cosy presentation remain just as vibrant and impacting, kickstarting the season for generosity delightfully.
Runs until 10 January 2026
