Review: A Christmas Carol (The Old Vic)

Review by Daz Gale

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When it comes to Christmas traditions involving theatre, the most obvious option would be an annual trip to the pantomime, whether it’s the glitzy Palladium one or one of the many local offerings found across the country. If your reply to an invitation to see a pantomime is “Oh no I won’t”, the Old Vic has created their own alternative, with Matthew Warchus’ acclaimed production of A Christmas Carol returning for its ninth year. It's become a bit of a tradition for me as well, with this now being my fourth consecutive year seeing the production. Though I’ve loved it as much as a warm mince pie in Christmas past, will my experience this Christmas present ensure I go back to watch it again in Christmases yet to come?

Charles Dickens’ classic A Christmas Carol has entertained audiences year in and year out since it was first published in 1843, being adapted many times across all mediums. You don’t need to look far to see many different versions of the story in theatres each Christmas, with this being the fourteenth review of a production related to or inspired by the story in the space of four years. There is a real timelessness to the story, but it is in Matthew Warchus’ inspired production at the Old Vic that sets it apart from all its counterparts, putting it head and shoulders above the rest as the best take on the story you can see each Christmas.

Telling the story of Ebenezer Scrooge, the old miser who sees Christmas as just another day and is more concerned with making money than any form of human connection. That all changes when his recently deceased business partner, Jacob Marley, pays him a visit to warn him of his fate if he doesn’t change his ways. Over the course of one night, Scrooge is visited by the ghosts of Christmas past, present and those yet to come as he finally takes a look at the person he has become, how his actions have affected others around him and what will happen if he doesn’t tread another path.

Jack Thorne’s adaptation of A Christmas Carol takes all of the heart from the story and amplifies it. Dickens’ classic story is given a refreshing new take, while still remaining faithful to the origins of the story. The result is a breathtaking piece of theatre that encapsulates the Christmas spirit, making it near impossible to leave without a smile on your face. If the three ghosts ever want a night off, they could just have Scrooge sit at the Old Vic and watch this production, and that would surely do the same trick.

Chief to the success of this production is Matthew Warchus’ sensational direction. Now in its ninth year, it would be very easy for him to rest on his laurels and keep this as the tried and tested well-oiled machine it has become. Bah humbug! As this is Warchus ' final year as Artistic Director of the Old Vic, he has converted the space into a different configuration to create a more intimate, 360-degree setting for every production over the course of the year. While this production did have an audience on either side in previous years, this new configuration has given Warchus’ the opportunity to try different things, resulting in an exhilarating new take on this classic production of a classic story, making it feel more intimate and immersive than ever before.

This is a story about human connection, and the dangers that can happen when you forsake them, so it makes sense for connection to be at the heart of this production in everything they do. Having the audience closer to the action and given them more chances to immerse themselves in the story works in its favour. This happens before the show even begins with cast members offering you a satsuma or a conversation. One even sat next to me before the show for a good chat - this is the actors as themselves (though perhaps not in their everyday attire), and the connection you have in these moments is paramount to the feeling you will carry with you through the following two hours. It is in this meticulous vision that Warchus has really put his own stamp on Dickens’ classic, making sure to forever be tied to its legacy.

It is in the final section of A Christmas Carol where the true spirit of the story and the season really shines. With Scrooge determined to bring the Christmas Day feast to the Cratchits, it is down to the hundreds of audience members to do this in the most creative and joyous thing you will experience this year or your money back (I can’t actually promise you your money back. Just call me Scrooge). A slide for potatoes, flying brussel spots and a game of pass the sausage (far more innocent than it sounds) provides pure unbridled joy. Whether you know what’s coming or it’s new to you, you can’t help but get involved, even if any sort of audience participation usually fills you with dread (guilty).

Music plays a big part in this production of A Christmas Carol, with composer and arranger Christopher Nightingale filling the story with a selection of Christmas Carols, fittingly enough. From ‘God Rest Ye Merry, Gentlemen’ to ‘In The Bleak Midwinter’, the smattering of numbers throughout adds to the story and brings a new meaning to them, so the next time you are greeted by a group of Carol singers at your door, you’re less likely to slam it in their face. The bell-ringing sequences that bookend the show are simply glorious, with the final rendition of ‘Silent Night’ oddly emotional and cathartic at the same time.

The one difference you can count on each year with the Old Vic’s A Christmas Carol is that a different actor will take on the role of Ebenezer Scrooge each time. Previous years have seen Christopher Eccleston, John Simm and Owen Teale, but this year it is the turn of Paul Hilton. Each Scrooge offers something unique to the role, bringing their own take on the iconic character, and Hilton is no exception. His Scrooge can be slightly eccentric at times, starting with what seemed like nervous energy used to create an urgent and even dangerous character. His emotions throughout felt heightened with extreme anger and a morose nature at various times. This meant the payoff when his heart thawed was even more impactful, creating a joyful warmth and showcasing Hilton’s remarkable talents as an actor. Dare I say one of the best Scrooges this production has had so far?

If I was to extend that statement, I could make an even bolder claim. This is the best cast A Christmas Carol has ever seen! With not a weak link among them, the talent on that stage exploded at every opportunity, resulting in one of the strongest ensemble casts I have seen in quite some time. Lauren Jones delights as Little Fan, bringing a sense of power to a character who may be overlooked at times but is integral to Scrooge’s development. Tanisha Spring gives a thrilling turn as Belle, bringing heart and much-needed humanity to her character, while Stuart Neal gives a memorable turn in his dual roles as Scrooge’s Father and Jacob, with the latter being where he really gets to showcase his strengths as an actor.

Other highlights among the ridiculously talented cast are Matthew Durkan as Fred, and a fantastically larger-than-life characterisation of Fezziwig from returning cast member Alastair Parker. Annie Wensak and Kibong Tanji get equally memorable turns as the Ghosts of Christmas Past and Present, respectively, with Rob Compton as a well-rounded Bob Cratchit, coming into his own in a particularly emotional scene with Tiny Tim. Speaking of, four actors share the role of the now iconic child, with Vinnie Stone taking on the classic line at this particular performance. When he uttered the words “God bless us, everyone”, he really did.

I always make sure to find time to see A Christmas Carol at the Old Vic each year, ensuring it is a tradition in the Dazzles household I never miss. Having loved it for each of the last three years I’ve attended, I thought I had experienced this at its most joyous, but it turns out it had even more to give in a production full of riches. This year’s A Christmas Carol feels newly energised, taking all the elements that have made it a resounding success each year and building on them to reach a whole new level of brilliance. The more intimate and immersive staging heightens the emotional aspect, and when you add what is arguably the strongest cast this production has ever seen, you’re left with a truly vintage year for this classic show. There is nothing like A Christmas Carol to get you into the festive spirit - I defy anyone to find a better Christmas production this year, and that’s no humbug.

A Christmas Carol plays at the Old Vic until 10th January. Tickets from https://allthatdazzles.londontheatredirect.com/play/a-christmas-carol

Photos by Manuel Harlan