Review: A Christmas Carol - A Ghost Story (Alexandra Palace)

Review by Lily Melhuish

⭐️⭐️⭐️⭐️

If you’re looking for a Christmas show that’s equal parts heartwarming and hair-raising, Alexandra Palace Theatre has you covered. Mark Gatiss’ faithful adaptation of A Christmas Carol - A Ghost Story returns for its third year, and it’s abundantly obvious why. Before the curtain even rises, the venue itself sets the tone. Alexandra Palace Theatre is a gothic gem, frozen in time, and the perfect backdrop for Dickens’ most enduring festive tale.

From the moment Matthew Cottle slinks onto the stage as Ebenezer Scrooge, you know you’re in for a treat. His Scrooge isn’t just grumpy; he’s practically feral, prowling the stage with hunched shoulders and a glare that could curdle cream. It’s a performance that makes you believe this man has a personal vendetta against joy itself. And yet, when the transformation comes, you can’t help but grin along with his infectious giggles. Some may say his redemption arc is a little too neat and polished, and to those I say, Bah Humbug! When’s a better time to suspend your belief than Christmas day, and Scrooge’s development into a halfway decent human being is a welcome one in this flashy production.

This returning show clearly knows its strengths. Gatiss’ script leans into the supernatural, and Adam Penford’s direction makes sure the ghosts aren’t just passing visitors; they’re full-blown theatrical events. Neil Morrissey’s Jacob Marley is a prime example: a towering figure slumped under the weight of thick chains and clattering money boxes, dragging his sins across the floor with chilling gravitas. It’s a stark contrast to his brief, roguish portrayal of Marley in life, and that duality sets the tone for the evening as a production that thrives on atmosphere. 

Penford also delivers moments of real ingenuity, particularly in Scrooge’s journey through memory. When the Ghost of Christmas Past leads him back to his youth, Scrooge doesn’t just watch from the sidelines; he stands shoulder to shoulder with his younger self, as if the memory were unfolding in real time. It’s a clever device that makes his regret feel raw and immediate. The same immersive approach carries into the present, where Scrooge finds himself in the firing line at his nephew Fred’s party, forced to endure mocking jibes from the guests who are none the wiser of his paranormal presence. These choices elevate the storytelling, pulling Scrooge into the heart of his own narrative rather than leaving him as a passive observer.

The ensemble deserves, and receives, a round of applause for their scene-stealing performances and seamless multi-rolling. Every actor gets a moment to shine, and they do so with gusto. Kalifa Taylor brings warmth and depth as Belle, Scrooge’s lost love, grounding the story in genuine emotion. Lance West as Fred is a burst of festive cheer, the perfect foil to Scrooge’s gloom, while Elio K Douglas’s Tiny Tim and Henry Davis’s Bob Cratchit tug at the heartstrings without ever tipping into sentimentality.

Visually, this show is a feast. Paul Wills’ set design is clever and atmospheric, with towering filing cabinets dominating the stage, a constant reminder of Scrooge’s obsession with status and wealth. These structures morph into shadowy Camden streets as the story shifts through time, aided by projections that whisk us from schoolrooms to snow-dusted London skylines. Add in dry ice, LED lights, and some delightfully eerie puppetry - wispy ghosts floating through the audience, a scrappy dog, and a pair of unsettling shoulder demons - and you’ve got a production that feels alive with Victorian spookiness.

Heather Castle’s costumes pop against the muted backdrop, all rich fabrics and period detail, while Philip Gladwell’s lighting design works overtime to carve up the stage and make it feel twice its size. Ella Wahlstrom’s soundscape hums and howls with spectral menace, punctuated by charming touches like the quaint door chime characters comically tap as they enter and exit Scrooge’s counting-house. It’s these little flourishes that make the world feel complete.

Where this production truly excels is in its stagecraft, the technical wizardry pushes boundaries and elevates the experience. But in terms of storytelling, it plays things safe. Gatiss’ adaptation is loyal to Dickens, and while that faithfulness is admirable, you can’t help but wonder what might happen if it dared to stray from the well-trodden path. A bolder approach could take this classic to even greater heights. 

This production is a festive treat that balances gothic chills with genuine warmth. If you’re after a Christmas show that feels traditional but never stale, Ally Pally’s A Christmas Carol - A Ghost Story is your ticket to seasonal magic.

A Christmas Carol - A Ghost Story plays at Alexandra Palace until 4th January. Tickets from https://allthatdazzles.londontheatredirect.com/play/christmas-carol-ghost-story-tickets 

Photos by Mark Douet