A Christmas Carol – Lyceum Theatre, Sheffield

Writer: Charles Dickens

Director and Adaptor: Christopher Gable CBE

Choreographer: Massimo Moricone

Music: Carl Davis

This is a superlative, joyous Northern Ballet production of the timeless Dickens Christmas tale of Christian redemption at the eleventh hour. The story of the curmedgeonly miser Ebenezer Scrooge and how he comes to realise the error of his ways before it is too late is so well known that it hardly needs an introduction. Northern Ballet, who never disappoint, have surpassed themselves this time in all aspects. As a member of the Sheffield Branch of the Dickens Fellowship, this reviewer was thoroughly entertained and welcomed the faithful adaptation of the original story and the clever way it has been transferred to the stage. An unusual addition to Northern Ballet productions is that the dancers also sing at various points – in this case some of the best known Christmas carols – and these are entirely keeping with the rest of the show and a nice touch. One of the highlights is Tiny Tim’s (Haiden Atkins-Brennan) touching solo.

Jonathan Hanks as Scrooge is on stage virtually throughout and delivers a bravura performance. It is only at the climax when his character bursts into full fruition as he is transformed into benevolence and joy that we see his full dancing skills, and it is as if he is so pleased to be released from his shackles that he revels in displaying his athleticism and control. His whole demeanour expresses the great relief and appreciation he feels for having had such a lucky escape from an eternity of bitterness and despair and his determination to make amends for a life not well spent – hardly “spent” on anything at all if you’ll excuse the pun. Hanks himself is quite a young man but with the aid of tremendous make up and wigs (credit to Harriet Rogers) and acting ability he becomes the archetypical miser that has passed into literary folklore.

Whilst the whole company deserves praise a few individuals are worthy of naming. Harris Beattie as Scrooge’s long put upon but loyal clerk Bob Cratchit invests his role with all the goodness and dignity it requires. Family manpar excellenceand indomitable optimist he gets his due rewards at the end. Dominique Larose and George Liang as the young Belle and Scrooge dance a very haunting pas de deuxand their loving relationship, only to be ultimately thwarted by Scrooge’s preference for a selfish lifestyle, is beautifully realised. Andrew Tomlinson as Marley’s ghost makes a very scary and effective entrance whilst the three main ghosts of Christmas Past, Present and Yet to Come (Saeka Shirai, Harry Skoupas and Tomlinson again) are all brilliant. Tomlinson in particular is very spooky and commanding, aided by a fantastic costume that is all skeleton, flowing robes, ethereal wings and long pointy fingers that will be too frightening for younger members of the audience but which the rest of us greatly appreciated. All the costumes are uniformly splendid whether it be the lush green robes of the Ghost of Christmas present, the hats and clothes of the revellers and party goers, Bob’s overlong comforter or the rags of the urchins. Finally, Bruno Serraclara and Amber Lewis have great fun playing Mr and Mrs Fezziwig, providing much of the comedic element during their scenes. They are a bit reminiscent of the Thenardiers from Les Miserables but much more benevolent.

The whole look and feel of this production is suitably atmospheric and Dickensian. The whole stage is very effectively used, with Scrooge’s bed being the only potentially problem piece of furniture but which is cleverly repurposed into different pieces of set throughout, including being used as the dining table at the Fezziwig Ball. The set changes from Scrooge’s bedroom to the Counting House to the Cratchits’ home to Fezziwig’s to the outside scenes very smoothly and effectively, made all the more impressive by the fact that there are absolutely no blackouts throughout the entire production (apart from the two intervals). This also means that the dancers have to do some very quick costume changes between scenes. The bridge that runs above the Counting House is used by a variety of characters, from orphans to chimney sweeps to funereal mourners, and is also very useful as the vantage point from which Scrooge and the Christmas Ghosts can observe the action below. Scrooge’s bedroom window with its tattered curtains frames the Ghost of Christmas Past as she makes her entrance and is almost cinematic in its effect. Swirling fog and snow adds to the atmosphere of menace.

All in all this is a splendid show which will live long in the memory and is a fitting addition to the ever expanding adaptations of Dickens’s canon.

Runs until 9 November 2024, then on national tour.