Writer: Charles Dickens
Adaptation: Jolyon Coy
Director: Katie Beard
Humbug to extravagance and excess! At Stanley Arts, a carousel cast returns Dickens’ classic to a humble stage and makes the most of it.
This Christmas, the miserly Mr Scrooge (Dan Gaisford) finds himself at home in a wildly versatile, if not a bit barren, house set piece. Latches and velcro and curtains, oh my! Marley’s funeral transforms into Ebenezer’s abode, then into town, and occasionally to the Cratchits’. It really is impressive to see the many masks worn by the same basic components. Though scene changes can be lengthy, they’re fluidly tackled by non-stop cast members and underscored by monologues, so dead space is usually eloquently avoided.
And the cast really is non-stop. With a small roster of just five actors (one slot taken permanently by Gaisford’s Scrooge), the remaining quartet rotate through upwards of 20 roles without any confusion or, frankly, any time to breathe. Nevertheless, the team powers through gracefully, with some standout combinations.
The Cratchit household is delightful and cosy, each actor’s persona seems just perfectly apt in those short scenes. The iconic Tiny Tim is played not by an actor this time but by a puppet. Passed invisibly from hand to hand, the silent lad is actually quite cute, and his lines aren’t missed as much as you might think. The voices of the Ghosts of Christmas Past and Present (both Sorrel Jordan) hover disembodied in dialogue with Scrooge, which can feel a bit empty but overall satisfies the phantom quota.
Gaisford’s Scrooge is funny (even in the face of a stonewall audience), and his redemption story is done justice as an endless classic. Scrooge is rather easily won over to the side of repentance, though this may well be accredited to Coy’s cutting as much as Gaisford’s portrayal.
Across his numerous roles, George Prové is a beacon onstage. From Marley’s Ghost to Young Scrooge to the eldest Cratchit son, Peter, his dramatic range is tested and proven. Most notably, as nephew Freddy, his presence is full of joy and hope, as Freddy should be.
Everything about Katie Beard’s A Christmas Carol is traditional (except, perhaps, the puppet), which is a double-edged sword. The classic production is satisfying to first-time viewers and seasoned Dickens fans alike, accomplished largely in part by a tireless cast. Drab costumes and dim setting, however, leave some scenes lacking lustre. Costumes and lighting are accurate, true, but for a holiday show, one does expect a degree of frivolous festivity. The same reasons, in part, explain why the Cratchits really shine; their house is literally brighter. This, at least, does feel intentional, and the illuminated finale satisfyingly reflects Scrooge’s bright spirits.
Runs until 27 November 2024 and continues to tour
The Reviews Hub Score
Faithful, Simple Retelling
