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THEATRE
A Christmas Carol, version by Jack Thorne,
conceived by Matthew Warchus from Charles Dickens’s novel
An Old Vic production.
At Comedy Theatre Melbourne until January 2025.
Reviewer: Kate Herbert.
Stars: ***** (5).
I reviewed the 2024 production on Arts Weekly on
Sat 7 Dec 2024. 
2024 A Christmas Carol_Erik Thomson, Ensemble_c EugeneHyland Matthew Warchus’s exhilarating
production of A Christmas Carol, adapted by Jack Thorne from Dickens’ ripping
yarn, is a very Christmassy feast of carols, choral harmonies, mass bell
ringing, snow, faith, hope and charity and even a veritable feast of fruits,
vegetables, meat platters, puddings and breads all sliding down from the
balcony along draped sheets to the stage and into wicker baskets. Yes, real
food – mostly.
The pre-show musical entertainment
includes actors dispensing mince pies and mandarins to audience members who
wave furiously at actors to get their hands on the Chrissy nosh.
Thorne’s version of Dickens’ story
extracts crucial moments, takes licence with some dialogue, and omits some
characters and scenes because, let’s face it, Dickens’ book would take many
hours to perform in full.
The centre of this morality tale is
Ebenezer Scrooge, played by Australian actor, Erik Thomson (known for his role
in TV series, Packed to the Rafters) who manages to take Scrooge from
crotchety to childlike joy by the end of the show.
Scrooge is a miserly old moneylender
who thinks Christmas is ‘humbug’ (he says the word only once in this show) and
who underpays and makes unreasonable demands on his dutiful, hard-working
office clerk, Bob Cratchit (Tim Wright) who lives in
poverty with his wife and many children, including Tiny Tim (played adorably by Mira Feldman
on opening night). Scrooge reviles the carol singers at his door and dismisses his genial
nephew, Fred (Kaya
Byrne). He suspects everyone wants to steal his money.
Thomson is irritable and curmudgeonly as Scrooge when
we see him in his money lender’s domain, surrounded by his multitude of cash
boxes that he stashes in his secret hiding places. After meeting his
Christmases Past, Present and Future, and learning a little of life and
humanity and, dare we say, love, he shifts to a surprisingly cheery disposition
and seems suprised at his own levity. This extreme change triggers the
ensuing, truly joyous Christmas celebration and feast the Cratchits’ home.
There will inevitably be comparisons with the previous
two Scrooges from 2022 and 2023: Owen Teale’s extraordinary Scrooge (2023) began
as ferocious and misanthropic, then shifted 180° to vulnerable, charitable and astonished
at his own change. David Wenham (2022) played Scrooge differently, starting
almost folded in upon himself like a creeping spider, then slowly unfolding as
he looked outward to view with love, the world and the people surrounding him.
The supporting cast is outstanding,
with Alison Whyte as the wry, pert, Scottish-accented Christmas Past, and
Samantha Morley as the critical, chivvying Christmas Present. The entire cast
takes the role of Christmas Future – a group of black-clad, veiled ghostly
figures – while Scrooge’s late sister, Little Fann (Aisha Aidara) escorts
Scrooge to view his own, desperately lonely funeral at which he learns his
lesson of love and kinship.
Anthony Cogin is compelling as the
ghostly Jacob Marley, whose singing skill surprises Scrooge, Grant Piro’s
Fezziwig is playful and naïve, while Sarah Morrison is warm and composed as
Belle, Scrooge’s early love.
We marvel like children at Rob
Howell’s gloriously atmospheric set design of tumbled lanterns and drop lights,
falling snow, Scrooge’s money boxes and secret compartments in the stage floor,
and Hugh Vanstone‘s evocative, often spooky, sometimes festive
lighting. The music, composed by Christopher Nightingale, is an imaginative
collision of Christmas carols, a capella harmonies, inspired bell ringing and
haunting soundscape, played by a live band perched in a balcony box and
musicians who are on stage.
A Christmas Carol, with its dancing,
singing, snacks, tears and laughter, is a delicious Christmas tonic that
reminds us of those who struggle to make ends meet. In London and here, money
is collected and donated by the show to charities for the poor.
By: Kate Herbert.
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