By Jennifer Beasley.
A universal fairytale of the power of the Christmas Spirit(s) and the enduring message of transformation will win over the hardest heart.
This much-loved Christmas story once again lands in Melbourne for a fourth season of A Christmas Carol. An old Vic production, and having won 5 Tonys, this production has been reimagined from Charles Dickens’s 1843 novella by Jack Thorne and directed by Matthew Warchus.
It’s interesting that Dickens wrote this after visiting the horrors that industrialisation had caused in Manchester and the story is probably owing quite a bit to his own distressing events as a child where he was forced to leave school at twelve after his father fell into debt.
Dickens was already a celebrity by 1843, and A Christmas Carol was only the first of five books in his Christmas series, although only the first, A Christmas Carol, has lived on in popularity. Although champing the rights of the poor, and in this story concentrating on bringing people together and the transformative power of the Christmas Spirit (utilising ghosts as a means to ignite awareness of a path gone astray), he was well known for his misogynist behaviour, culminating in his abandonment of his wife, Catherine and mother of his ten children, for 18-year-old Ellen Ternan. However, this is an interesting back story that to me, makes this story more poignant in its plea for redemption.
If you don’t know the story of A Christmas Carol or have been living with Patrick under his rock at SpongeBob SquarePants’s hangout, then I’ll do my best to give you a brief rundown.
A terrible miser, Ebenezer Scrooge is visited by his dead partner Marley, bedecked in the chains of his sins, to warn of the impending visitation by three ghosts. Pooh and humbug, replies Scrooge, as he waves away the apparition, along with all the carollers, his nephew and his poor, overworked employee Bob Cratchit, with no concern for Cratchit’s poor sick son, Tiny Tim. When the ghosts visit, they show him his past, present and future, which ignites a epiphany within Scrooge, and a desire to set things right.
In this fourth rendition of the play returning to Melbourne, and with some rousing carols by the actors pre-show and the distribution of mince pies (NOT gluten free) and mandarins, the show begins.
The many small lanterns glow golden in the filtered light. The musicians are nestled upon the side balcony. The audience primed and ready.
Lachy Hulme (Furiosa: A Mad Max Saga) is cast in the role of Scrooge. In the performance I attended, his energy appeared low in the first act, and it is fortunate that the amazing lighting by Hugh Vanstone, brilliant sound by Simon Baker and incredible set by Rob Howell of the piles of chains and locks on the sides of the stage, and the three doorway frames that fall into the stage, elevate this production. Also, the Victorian costumes, Rob Howell again, are done well, with a wonderful theme of red, green and cream that is beautifully brought over to the three Christmas ghosts with their patterned dresses (yes, they are women and at least a balance of sorts to an otherwise very masculine story).
After an introduction to the cast members, with a suitably humble Bob Cratchit, played with aplomb by Daniel Frederiksen (Shakespeare in Love), Andrew Coshan (A View From The Bridge) as the perennially cheerful nephew, and a trio of carollers by the other cast members, we are introduced to the fabulous Tony Cogin (The Mousetrap) who acts as both scrooge’s father and as Marley the regretful ghost.
Scrooge finally sends an exhausted Cratchit home, and then we see the first of the Christmas ghosts, Ghost of Christmas Past, well-acted by Natasha Herbert and with a gorgeous singing voice which rises above everyone. Constantly in demand, her credits are too numerous to list here.
This ghost takes Scrooge back into his past and we are introduced to Scrooge’s sister, little Fan who also takes on the role of the Ghost of Christmas Future (more of a proxy situation as the real ghost(s) do not talk and therefore Fan steps in as she is deceased). Emily Robinson (Tarzan- The Stage Musical) is captivating in her portrayal. In particular, the second act, where Hulme regains his energy and infuses some of that acting clout he is so famed for, and when that comes in, wow, does he impress.
After a break, the second act kicks in. Running at over two hours this production is well paced, with appropriate pauses to allow the audience to catch their breath. The second Christmas Ghost enters, the Lennon sunglass wearing Ghost of Christmas Present, or Brenda, as Samantha Morley (Sunset Boulevard) with humour wistfully lets the audience know. Once Morley steps on any stage she consistently steals every scene. Incredible talent and a wonderful support for Hulme whose scene interactions with her keep getting better and better as the show progresses.
The other wonderful standout is Claire Warrillow (And Then There Were None) as Belle, the old love interest of Scrooge. In a heart felt scene where the two old lovers reconnect, with the elaborate door frame separating them, they both shake hands as a final goodbye. Beautifully directed and acted, with gentle mood lighting that makes this the most endearing and bittersweet love scene I’ve seen all year.
I also need to give an accolade to the charming Wynton Inman acting as Tiny Tim, the unwell son of Bob Cratchit. Very cute and well-cast and a lovely foil to the towering Hulme.
Rounding out the cast is Jonathan Gardner as George, Nicholas Kong as Fezziwig, Stephanie Lambourne as Mrs. Cratchit, Kaori Maeda-Judge as Jess, Felix Star as Young Ebenezer, Jack Van Staveren as Nicholas and Hanlon Innocent and Amber Langman as swings.
The band is terrific, with Atilla Kuti on Violin, Karoline Kuti on Cello and the multi-talented Natasha Fearnside on Clarinet, Bass Clarinet and tin whistles.
A tremendous amount of work has gone into this production and with a rousing twelve carols to lift the spirits the ensemble, producers and director go the extra mile with a barrage of fake snow, and plenty of Merry Christmases to the audience.
With an on-theme dedication to donate to Fareshare, to provide meals for people going without this Christmas, this show is magnificent, both in the true spirit of Christmas and the warmth and generosity generated.
If you are free before the Big Day, go and see this, and if able, give generously, not only to Fareshare, but to each other.
Merry Christmas to you all!
A Christmas Carol plays at the Comedy Theatre, at various times until 24th December 2025
