Whether it has become an annual pilgrimage or if you are seeing it for the first time, The Old Vic’s A Christmas Carol is an outstanding, heartfelt production. Each year, the starring role goes to a different actor. Now it is Erik Thompson who plays Ebenezer Scrooge with distinction. In the first Australian showing two years ago, David Wenham assumed the role of the tightwad money lender. Last year, it was Welshman Owen Teale, who previously saluted as Scrooge in the West End.
Conceived and directed by Matthew Warchus, Jack Thorne has reimagined the Charles Dickens’ classic tale to mesmerising effect. It is dramatic and melodic with humorous flourishes. It recounts Dickens’ famous 1843 novella with relish and a fresh perspective. The Old Vic first introduced the play with music in November 2017. At that time, Rhys Ifans was Scrooge.
While the story of Scrooge, who was “helped” to discover the true meaning of Christmas, may be familiar, The Old Vic’s interpretation is both delightful and surprising. Before we enter the theatre proper, we are welcomed by actors in Victorian costume freely distributing mini mince pies and mandarins. As we are led to our seats, we are immediately enchanted by what might best be described as a beautiful and detailed art installation.
In fact, it is literally hundreds of old-style glowing lanterns hanging from the ceiling at different heights, creating a most favourable first impression. Top hats and long black coats are staples as spirited musical accompaniment greets us from the stage. It is a convivial environment, which quickly turns to bah and humbug when Scrooge enters the fray.
Erik Thompson brings surly authenticity to the role. His demonstrative fits of pique illustrate what a master of his craft he is. Scrooge slams the door on choristers and gives short shrift to his nephew (Kaya Byrne). He implores his good-natured employee Bob Cratchit (Tim Wright) to keep working long past dark on Christmas Eve. It is while pouring over his books and counting his money that he is visited by the ghost of his dead partner Marley (Anthony Cogin).
Marley informs Ebenezer that further apparitions are on the way. They are the Ghosts of Christmas Past (Alison Whyte), Present (Samantha Morley) and Future (Aisha Aidara). It is through them that the story evolves. Scrooge is introduced to his young, enthusiastic self (Felix Star). He sees his beloved, deceased sister Little Fan (Aisha Aidara), their mean-spirited father (Anthony Cogin) and the love of his life, Belle (Sarah Morrison).
So, too, Bob Cratchit’s home environment, in which Bob interacts with his young son Tiny Tim. After the Ghost of Christmas Future’s visit at the start of Act II, the tone shifts markedly. That is when the previously obstinate and unsympathetic Scrooge has a change of heart. Subsequently, shrieks of laughter ring out in the audience as a suddenly jovial Ebenezer embraces all. Everything about this show is top shelf, as Scrooge’s life lesson hits home and turns his fate on its head.
Erik Thomson is belligerent as Scrooge who, after much persistence, undergoes a metamorphosis. Of course, that only happens after he is presented with pointed visions. Aisha Aidara is warm, friendly and doting as sibling Little Fan, who is also readily able to channel angst and exasperation as the Ghost of Christmas Future. Tim Wright’s Bob Cratchit is the epitome of respect and restraint in his interactions with Scrooge and effusive with Tiny Tim.
Anthony Cogin is menacing as Ebenezer’s ill-tempered father and former business partner Jacob Marley. Alison Whyte is positively ferocious as the Ghost of Christmas Past. Samantha Morley gives as good as she gets as the Ghost of Christmas Present. Sarah Morrison channels a melancholic and disappointed air as Belle. Mighty impressive with her confident and convincing delivery and projection as Tiny Tim is eight-year-old Mira Feldman. She is one of four alternates in the role.
The minimalist staging (set and costume design is by Rob Howell) is most effective and affecting. Noteworthy are four doorframes that appear and disappear electronically, which mark the parameters of Scrooge’s office. As a door is figuratively closed or bolted shut, that is accompanied by heightened sound effects. Earlier, I referenced the impact of the hanging shimmering lanterns, which are also piled up deliberately untidily on the ground at either side of the stage.
Simple, utilitarian props complete the picture. The period costuming transports us back in time, while the creative lighting (from Hugh Vanstone) and impactful sound (from Simon Baker) provide gravitas. The music (composed and arranged by Christopher Nightingale) is very easy on the ear. The Old Vic’s A Christmas Carol is delightful family entertainment.
The winner of five Tony Awards, it is poised and polished, joyful and triumphant … and heaps of fun. I walked out with a spring in my step. What a wonderful introduction to the festive season! It is playing at the Comedy Theatre until 29th December, 2024.
Alex First
Other reviews you might enjoy:
- The Old Vic’s A Christmas Carol (Comedy Theatre) – theatre review
- A Christmas Carol (Comedy Theatre) – theatre review
- A Christmas Carol (shake and stir theatre company) – Theatre Review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.