Writer: Charles Dickens
Adaptor: Jack Thorne
Director: Matthew Warchus
Forget, for just a moment, the first few notes of Mariah Carey’s All I Want For Christmas Is You that generally herald the start of the festive season. Truly, what marks the beginning of the run-up to the big day is the launch in the country’s theatres of various productions of A Christmas Carol.
The capital’s Scrooge-seekers will have no fewer than nine versions to choose from this year – some straightforward versions of Dickens’ classic and some a little more inventive (Dolly Parton’s backwoods take on the tale hits the Southbank in mid-December.) Each will offer something unique, even if it’s the familiar plotting, but few will match the Old Vic for gung-ho indulgence in Victoriana. It’s one of the first to hit the stages, and it’s a welcome return for an audience favourite.
Jack Thorne’s version of the story, directed by Matthew Warchus, has been the Old Vic’s go-to for this time of year since 2017 (with the obvious blip in 2020 where it was performed with an empty house but streamed to home audiences). Owen Teale takes on the main role this time, with his Scrooge coming across as a character with depth and shade rather than a flat villain turned sudden hero as we sometimes see him depicted. This version is rather likeable and vulnerable, even when he’s being awful to his fellow man. He sweeps around the stage, raging then mewling, aggressive then meek. He even does a solid line in funny asides to the audience. It’s a fine performance, well deserving of a high place among the others in the role in past years here.
While Teale’s Scrooge is a key attraction, those surrounding him as the clerk in his money lender business Bob Cratchitt and his family; the Ghosts of Christmas Past, Present and Future; his old employers; his neighbours and his own family all bring vigour and life to their performances. Many actors take on multiple named roles as well as being part of a charming chorus of carolers and folk singers, musicians and bell ringers. There’s a lot going on, though they create a dynamic performance rather than chaos.
Though they dip in and out as characters, Fezziwig played by Alastair Parker along with his daughter Belle (who becomes the love of Scrooge’s life) played by Lydia White make a massive impact. As Ebeneezer’s sister Little Fan (who returns as a superb Ghost of Christmas Future) Melissa Allan is a delight and is the driving force behind much of the key points in the production where they really hook into the heartstrings to give them a solid tug.
Everything takes place in a massively transformed theatre space in a set designed by Rob Howell, who is also responsible for the beautiful costumes. It’s played in the round with over a third of the audience in seating temporarily installed on the stage. Scrooge’s days of change are played out on a cross-shaped dark wood stage reminiscent of a church’s nave, with dozens of little lanterns glowing beneficently above, and with runways passing through the audience at either end of the room. It’s all blanketed with Christopher Nightingale’s gorgeous music played with a live group who sit overlooking the stage.
The depth of Scrooge’s character is reflected in the feel overall. It’s not just a man made good again and some ghosts that help him transform, there’s some smart bits that help us understand him and his type of character more like a sad focus on his awful father and the generational trauma that he inflicts, as well as Scrooge’s clear regret over past actions. All this is valuable, vital stuff, but doesnt stop the show tipping into saccharine and overly emotional territory sometimes. As we get through some treacly bits, there’s a lot of audience eye-dabbing to be seen.
As one of the first of the Christmas Carol shows to go live, it has truly set a high bar. Pushing it that little bit higher is the production’s commitment to raising money for a food distribution charity, making the valid and extremely welcome point that the world on stage of debt and child poverty is sadly not one we’ve left behind by any measure. A strong story, excellent performances and a stunning audio and visual experience – combined with a commitment to doing actual relevant good: What more could you want at this time of year?
Runs until 7 January 2023
