By Nick Pilgrim
Like Mamma Mia, Grease and Wicked before it, the testament of any critically and commercially successful production is a knack to revive and captivate time and time again. Returning to Melbourne for its third consecutive festive season, A Christmas Carol is quickly establishing itself as a yuletide staple.
A British transfer imagined by The Old Vic, that long-established organisation is responsible for staging a wide variety of classics from Waiting for Godot to What the Butler Saw.
A Christmas Carol has a well-documented history.
Authored in record time by Charles Dickens in 1843, he wrote the work in response to the appalling conditions suffered by factory employees of the time. That they were mostly women and children made his mission urgently important.
Such was its social imprint beyond being filmed numerous times throughout the years, the tale’s influence may be seen in other motion pictures such as It’s A Wonderful Life (1946), Defending Your Life (1991), and Groundhog Day (1993).
In essence, A Christmas Carol is a powerful study of regret and redemption. Reviled by the entire town, Ebenezer Scrooge is a bitter old man. A hardened debt collector by trade, his main mission in life is to accrue wealth beyond all reason. The irony being, Scrooge cannot bring himself to enjoy any of it. This frugal existence and inflexible mindset come unstuck one night when he is haunted by the spirit of his deceased business partner, Jacob Marley.
Weighed down by heavy chains as punishment for a lifetime of greed, Marley warns that he has a single chance to escape the same outcome. Scrooge will be visited by three ghosts, and unless he listens to their instructions, he will be cursed with an even greater fate.
How Scrooge responds to their individual presence detailing the past, present and future forms the crux of his life-changing journey.
Adapted by Jack Thorne from Dickens’ blockbuster novel, his sensitive interpretation is suitable for viewers of all ages. Balancing easy to digest characterisation and streamlined narrative, makes for an experience with maximum dramatic impact. If the viewers ranging from eight to eighty in attendance at last Friday evening’s performance are any indication, there was nothing less than total engagement from the enchanted capacity audience.
Thanks to a combination of brilliant acting, charming musical interludes, immersive stagecraft and stellar creative support, A Christmas Carol lives up to its acclaimed global reputation. Brim full of heart and purpose, no detail is left to chance.
Two elements which were used to excellent effect at the MTC’s recent World premiere of My Brilliant Career earlier this month, are also employed in A Christmas Carol. Positioned front and centre, a pre-show string quartet immediately sets the show’s mood and tone. The fact that many of the actors do double duty playing musical instruments demonstrates the skill and versatility it takes to be a modern performer as well.
Very much a group collaboration, the creative team draws viewers into the performance space. Extending props such as overhanging lanterns well into the auditorium, allows for a fantastic immersive experience. (It should be noted at various points throughout the show, actors mingle with audience members as well. A surprise element late in the piece, cements the child-like wonder A Christmas Carol goes at great lengths to build. Like similar plays such as War Horse and The Curious Incident of the Dog in the Night Time, that component alone packs a huge emotional punch.
As if performed by candlelight, the nineteenth century feeling extends to costuming, mechanical set pieces, choreographed movement and sound. Fusing the entire production together, the company is represented by:
- Matthew Warchus (Concept & Direction)
- Rob Howell (Set & Costume)
- Christopher Nightingale (Composer & Arranger)
- Hugh Vanstone (Lighting)
- Simon Baker (Sound)
- Lizzi Gee (Movement)
- Campbell Young Associates (Hair, Wigs & Make Up)
- Jamie Minton (International Associate Director)
- Laurie Perkins (Musical Supervisor)
- Sharon Williams (Associate Costume Designer)
- Peter Rutherford (Australian Musical Supervisor)
- Vicky Jacobs (Musical Director)
- David Spencer (Australian Associate Director)
- Sophie Woodward (Australian Design Associate)
- Hugh Hamilton (Associate Lighting Designer)
- David Greasley (Associate Sound Designer)
- Jan Di Pietro (Resident Choreographer)
- Natasha Fearnside (Clarinet, Bass Clarinet and Tin Whistle)
- Lauren Jennings (Cello)
- Lisa Reynolds (Violin)
(Building on this immersive theming, it should be noted that the band was positioned both on stage and in the main box seat to the left of the proscenium.)
In the pivotal role previously held by David Wenham (2022) and Owen Teale (2023), Erik Thomson reinforces his national star appeal and range as an expert character actor. Through Scrooge, watching his emotional transformation over the show’s two-hour running time is nothing short of breathtaking. Sinking his teeth into the storyline’s delicate balance of light and shade, allows both Thomson and the supporting cast with whom he share’s legitimate chemistry to truly shine.
Consisting of new and veteran performers, makes this a truly ensemble outcome. They are listed alphabetically as:
- Aisha Aidara (Little Fan)
- Kaya Byrne (Fred / Nephew)
- Anthony Cogin (Father / Marley)
- Benjamin Colley (George / Accordion / Tin Whistle)
- Stephanie Lambourn (Mrs Cratchit / Mandolin)
- Kaori Maeda-Judge (Jess)
- Samantha Morley (Ghost of Christmas Present)
- Sarah Morrison (Belle)
- Grant Piro (Fezziwig)
- Felix Star (Young Ebenezer / Cello)
- Cameron Taylor (Nicholas)
- Alison Whyte (Ghost of Christmas Past)
- Tim Wright (Bob Cratchit)
- Jack Van Staveren and Jasmine Vaughs (Swings)
Tiny Tim is played by four children (Mira Feldman, Wynton Inman, Libby Segal, and Noah Sherburn) with Feldman playing the role on the night I reviewed.
Having seen many of the cast members in previous stage, film and television roles, their absolute commitment to the project is a joy to behold. That they could milk tears from practically everyone in the room including yours truly, highlights the importance and community value of this very special vehicle.
(In the true spirit of giving, it was quite touching to see the company also partner with Second Bite, who help provide food relief to Australians in need.)
Melbourne is currently spoiled for choice with several big budget musicals playing or about to open. More of a drama set to music, A Christmas Carol stands tall and proud amongst them.
Don’t miss it.
Images: Eugene Hyland
