Review of ‘A Christmas Carol’: “All I want for Christmas is this”

Charles Dickens’s old time classic returns to the Old Vic’s stage through Jack Thorne’s play with songs adaptation. Guillermo Nazara shares his views on the show, to let us know if this holiday treat was actually a stocking filler.

We can’t erase the blots from the past. But we still can paint a better future. The old premise of self corruption and later redemption has taken many forms and shapes throughout literature. And yet, no other one seems to do the trick as well and effectively as Charles Dickens’s winter classic. Maybe it’s the Victorian allure of its setting, or perhaps the mellowing magic of the holiday season. But the story of the Ebenezer Scrooge and its cautionary allegory continues to charm the hearts of modern viewers with the same spark and enchantment as it did back in the time – reminding us of that gentler, purer part that still dwells within our souls, and which could still brought back by the simple, yet mighty touch of kindness.

A seasonal tradition regardless of the media, the London scene is no doubt the ultimate shrine to transform this 19th century parable into mythic outburst of fantasy and allure. The attempts are not scarce or new. And so, we’re inundated with new versions and approaches revisiting the cherished plot we’ve all grown to love and care for. The Old Vic doesn’t take a risk in that regard: it’s exactly the narrative we know treading the boards of their custom re-adapted in-the-round stage. There’s no new characters or different endings. Just a tiny bit of music (a play with songs and nothing else) and a minimal set design. But by doing that, they’ve come up with something grand.

Step inside the auditorium to plunge into a completely separate world, where the sight of coal steam and the smell of mince pies will both deluge and captivate your senses. A slightly immersive montage unravels before your eyes as you take your seat to experience, enjoy (and probably, even cry to) a delightfully enthralling vision on Dickens’s iconic novel. Filled with lush extravaganza despite its reduced use of props, the whole show is a triumphant statement on the powers of theatricality – creating a true reverie of zeal and pizzazz by touching every button in your system and returning that wondrous feeling of childlike amazement.

Directed by Matthew Warchus and with sets and costumes by Rob Howell, the visual impact of this production is, by all means, the highest strength of an already forceful piece of art – able to inspire and beguile through a fanciful display of imagination and talent. With an exquisite score penned and arranged by Christopher Nightingale, the work excels at its narrative efforts – beautifully woven altogether and presented with flawless pacing, with the only exception of an excessively interactive (and pantomimesque) excerpt during the great banquet part.

In addition, though the atmosphere is brilliantly achieved, the preshow moment could still be taken to a more intricate level, by setting the sounds of Victorian London to travel through the room, as some actors pass by the aisles to make its already surrounding universe even more graspable. Use the perhaps cliched though efficient input of a fire onstage with a few bums around it and there you have it: you’ll become a traveler, instead of a viewer, in this new reality you’re about to journey through. Finally, the conclusion of Act I, though anyway adequate, could benefit from a more arresting delivery when it comes to its staging – thus, providing us with that more fulfilling show-stopping flavour that somehow seems to be lacking on this occasion.

Nonetheless, these are just very minor details that do not affect the quality of the entire endeavour. The praise continues with its rather astounding cast, performing with magnetic presence and tangible rapport, keeping up the piece’s awe-striking aura of by crafting one of their very own. With all of its members delivering their parts with highly competent timing and naturalness, the big mention is undoubtedly earned by Christopher Eccleston – giving an incredibly touching and charismatic portrayal of the old Scrooge, endowing him with depth and humanity while masterfully combining the dramatism and humour of the character in perfect balance.

A vibrant parade of marvel and nostalgia, Jack Thorne’s version on A Christmas Carol becomes, once again, the great holiday treat for the family. Packed with dazzling musical renditions, elegant acting and stunning visuals, the show is a ceaseless carousel of joy and spectacle – guaranteed to both bring back (and print some new) memories scented with the spellbinding flare of theatrical glitz. It both has and grants the gift to honour Christmas in everyone’s heart – and it’s proven to keep it every year.

A Christmas Carol plays at London’s Old Vic until 6 January. Tickets are available on the following link.

By Guillermo Nazara