Review of ‘The Great Christmas Feast’: “Dickensian festival is a banquet for the senses”

Now in its eighth consecutive year, the show returns to The Lost Estate to immerse audiences in the magic of Dickens’s lore. Guillermo Nazara shares his views on the show to let us know whether it lives up to the great expectations.

I’ve come to the conclusion that Ebenezer Scrooge and I have a lot in common. We both hate people. We’re both bitter and spiteful. And in my case, when someone asks me to be generous with my reviews, I always warn them about how dangerous it is to wish upon a star — chances are they will get none.

I’m a Londoner, and I work in theatre. That means I’m bombarded, day and night, with endless versions of Charles Dickens’s Christmas classic over the entire holiday season. For those who have not been paying attention, summer is the new advent.

It’s enough to drive somebody mad. And more than once, they have succeeded. Yet, who can resist an invitation that includes a three-course festive lunch and bottomless drinks? We can both agree that not coming would be the real reason to be haunted by the past, present, and future — that is, if I have any.

If you’ve ever been to Disneyland, you can probably unearth some fond memories buried under a pile of magical debt — sadly, you can’t just get rid of it at the flick of your wand. Anyone familiar with their E-ticket attractions (jargon for state-of-the-art rides) knows their efforts to drag you into their universe minutes before you’ve even hopped into the vehicle. This isn’t too different.

A few steps in, and the time warp begins. An exhibition of facsimile artifacts, depicting Charles Dickens’s harsh upbringing and his financial struggles as a young writer, greets a group of eager visitors. The clinking sounds of the Industrial Revolution travel through the walls of this labyrinthine path, portraying an era of marvel and horror — a time of historical progress, but also social desperation.

Far beyond, a black wooden door stands in the middle of the dark, lit in eerie whiteness like a portal to another sphere. A gentle push and the wonders of the Victorian world unravel. “Welcome, sir. We’ve been expecting you”, says the soft-spoken voice of our 19th-century maitre.

As we walk towards our table, the place bursts with excitement, fancifulness, and intricacy. Old gas lanterns hang from the ceiling in a web of ropes, illuminating a whimsical ambiance where attention to detail is only the starting point. A canopied salmon bed lies quietly on one corner. Across the space, an oaken desk overflows with a cascade of coverless books. Arched windows covered in frost surround the whole area, where wooden platforms, china rooms, and a counting-house office concoct the rest of the picture. It’s an exquisite sight — the kind one can’t simply get enough of.

An array of seasonal treats follows the initial amazement. And for the most part, they are a worthy successor. A berry-glazed cream cheese terrine and a crudités side make for a humdrum but enjoyable entree. The real star materialised through the main dish, a simple yet mouthwatering recipe of duck confit and roasted potatoes cooked to absolute perfection. A succulent Twelfth Night cake, alongside an ingenious array of 1800s-inspired cocktails, delivered the ultimate encore.

The unstoppable spectacle the setting itself brings is enough to astound the most cynical guest, to the extent that one may easily forget they’ve actually come to watch theatre. I haven’t, though. And my verdict is firm. Beyond some terrible dad jokes and not-so-sharp attempts at banter, this one-man performance of A Christmas Carol is a notorious tour de force, where passion, craft, and talent join hands to produce a piece of extraordinary quality.

A thirty-year-old Charles Dickens (Tama Phethean) metamorphoses into a joyful nephew, a sassy specter, a striving working-class patriarch, and a stingy, self-centered banker. As he leaps from one scenery to another, live strings and chromatic percussion underscore every movement, line, and theme. It’s a tidal wave of poignancy nobody can escape from drowning in. And once it touches the heart, it lingers in it forever.

The alchemy Phethean concocts as an actor is genuinely breathtaking. His transformation from one role to another is as smooth as it is exemplary. Every portrayal flaunts command, poise, and a broad register. The result is inevitably galvanising — and in many ways, pulsating. On top of it, three members of the crowd will be randomly selected for supporting parts. After all, what’s Christmas but a time of sharing?

You may need more than a shilling or half a crown to afford a ticket. Yet, everything you’ll get in return will make the investment worth it, even if the expense turns your home into a bleak house. Regardless, The Great Christmas Feast is not a must-see but a must-live event for anyone looking for the ultimate holiday show. Its ending may not feature twists, but its impeccability and high standards are just as surprising. And so, I will still ask: “Please, sir, may I have some more?”

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All pictures credit to Hanson Leatherby.

The Great Christmas Feast plays at London’s The Lost Estate until 4 January. Tickets are available on the following link.

By Guillermo Nazara