The story of Charles Dickens’ A Christmas Carol is embedded in Western culture. From its somewhat biographical beginnings (Dickens’ father, John, was thrown into debtors’ prison, forcing 12-year-old Charles to pawn his collection of books and leave school), the story has been adapted and remixed and paid homage to in every conceivable medium.
When I was
growing up, I was exposed to the story through three different adaptations: A
Christmas Carol (1984), starring George C Scott; Scrooge (1970), a musical with
Albert Finney; and An American Christmas Carol (1979), with the Fonz, I mean,
Henry Winkler.
But the
premise – a curmudgeon’s outlook is changed by “three ghosts” – appeared in
episodes of Bewitched, Alice, Family Ties, Fame, up through Quantum Leap,
Northern Exposure and Xena: Warrior Princess.
It’s hard
to look past a story that tells us sincerely that there is good in everyone,
even the miserly rich, even if today’s reality is making that harder and harder
to actually believe.
A
Christmas Carol has
a stage history almost as long as its published history. In fact, the first
stage adaptation appeared in 1844 – only weeks after the novella was released.
Another version, this one sanctioned by Dickens, appeared another month later.
And there has
been a long tradition of solo actors telling the tale on stage: from Seymour
Hicks in the late 19th century to Patrick Stewart in the late 20th.
Jack Thorne’s
adaptation is a faithful retelling of the classic tale, with a few interesting
tweaks at the conclusion. Director Matthew Warchus’ production (which first premiered
at the Old Vic in London in 2017) is a joyous, welcoming production, with some
effective scares and surprising emotional weight.
2024 marks
the third year in a row the show has been produced at the Comedy Theatre in
Melbourne. After David Wenham appeared in 2022 and Owen Teale in 2023 (reprising
the role from the Old Vic in 2022), Erik Thomson steps into the role of Scrooge
this year.
The
audience is greeted by actors in Victorian Era clothing, handing out mince pies
and mandarins. On stage, other performers are playing instruments. It’s delightful
pre-show entertainment – Christmas Carols and long-distance satsuma throwing. Actually,
that last bit was occasionally stressful, but it felt like a suitable
silly-season game.
We’re in a
good mood when Scrooge appears on stage – a partial thrust of wooden floorboards,
surrounded by a proscenium arch made from old-fashioned gas lanterns. Scrooge’s
office is delineated by archways that appear from under the stage. Doorways and
arches are a recurring motif throughout – the doors that Scrooge locks to keep carollers
out and the portals he goes through to see the past, present and future.
The
ensemble cast aren’t the entire band (some other musicians are hidden away in
one of the Comedy Theatre’s side balconies), but when they are not appearing as
ghosts or townsfolk, they are a traditional Greek chorus, outlining the tale in
Dickens’ own words. They are also there to treat us to Christmas carols
throughout.
The transitions
from reality to the spectral timelines are ushered in with a rumbling score and
an impressive lighting display. The lanterns glow and sparkle in waves that
continue beyond the stage and out into the audience, with lights dotted around
the auditorium. It’s a feast for the eyes.
Alison
Whyte (recently seen in Peter and the Starcatcher) and Samantha Morley get to
go big as the ghosts of Christmas Past and Present. Anthony Cogin is suitably gruff
as Marley and Scrooge’s father. Felix Star’s Young Ebenezer is so wonderfully
expressive. And Sarah Morrison brings some beautifully sensitive work as Belle,
especially in her final emotional scene with a changed Ebenezer – an invention
of Thorne that reminds us that changing ourselves now does not fix the past for
those who have lived it.
This was my
first time seeing the show, so I can’t compare Thompson to Wenham or Teale or
to any number of the other actors I wish I’d seen in the part: Paterson Joseph,
Stephen Mangan, Christopher Eccleston or Brad Whitford. Thompson is ideal for
the part – off-putting in Scrooge’s early arrogance and believably joyful by
the end.
This fable isn’t
asking a lot of its central character – and we all know where it’s headed from
minute one. There were a lot of children in the audience for opening night, so
this might be their first introduction? I hope they didn’t get too scared!
After hearing how wonderful this production was, it was a thrill to see how stylish it is in execution. May it return every year.
- Keith Gow, Theatre First
A Christmas Carol is playing at Melbourne's Comedy Theatre until December 29
Photos: Eugene Hyland
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