Type – Heartwarming, Joyful, Festive
If you liked – Films such as The Man Who Invented Christmas (2017), A Muppets Christmas Carol (1992) and any other adaptations!
A Christmas Carol: This Christmas tradition strives to bring cheer and merriment to its audience, but perhaps needs a little polish to ring as brightly as intended
In its momentous fourth return to the Comedy Theatre this holiday season, The Old Vic’s production of A Christmas Carol is back for a strictly limited five-week season.
Adapted from Charles Dickens‘ beloved tale, the play follows Ebenezer Scrooge (played by the AACTA award-winning Lachy Hulme), a London moneylender who sees no merit or need for Christmas – that is, until he is visited by a series of spirits that lead him through past, present, and future events. It is due to these encounters that Scrooge begins to reflect on how he has truly led his life, and this play has been written with the intention to have its audience consider how they are leading their own.
Festive From Curtain Rise to Close
From the moment they stepped into the theatre space, theatregoers were invited to join in on the excitement and community that an Old Vic Christmas represents. A lively preshow experience established a tone of festivity and openness – a vivid contrast to the “humbug” nature of Scrooge to be come. Matthew Warchus’s direction emphasised an interplay between light and dark, highlighting the many transformative powers of spirit (in both practical and symbolic senses).
Sources of light were not in short supply in this production! Rob Howell’s set design had lanterns in piles onstage and suspended in long sweeping arcs from the theatre’s ceiling. The Comedy Theatre’s internal architecture had been thoughtfully embraced in the placement of these, allowing the space itself to become part of the storytelling. In collaboration with lighting designer Hugh Vanstone, this production’s visual effects were able to reach up to the highest section of the dress circle, allowing those sat in any corner of the theatre to feel encapsulated in the narrative.
A Unified Ensemble
Christopher Nightingale’s arrangement of the traditional Christmas carols and folk songs used to illustrate scene transitions and other major moments in the show was stunning and beautifully sung by the ensemble cast. In fact, it’s the ensemble that was most eye-catching in this production, committing themselves to the joyful movements choregraphed by Lizzi Gee. However, with a script and overall vision that relied on the company to move as a single, cohesive organism, several scenes suffered from synchronisation issues.
Sequences that were designed to create a hushed atmosphere occasionally fell out of step with accompanying whisper tracks, resulting in uneven pacing and making some phrases harder to follow.
As the production’s leading man, Hulme brought moments of raw emotion to Scrooge, particularly when he is confronted with the shadows of his past. His ability to switch to bring about the heavier moments in the play and illustrate his character’s lows was well performed. Hulme also demonstrated particularly impressive stage awareness when a piece of set failed to return to its proper position mid-scene. Keeping the back and forth of the scene going, he corrected the set’s positioning with a well-timed stamp, ensuring himself and his fellow actors remained on track.
However, as the play is set in the bustling city of London, Hulme’s accent slipped semi-frequently, disrupting the world-building illusion. One particularly fierce monologue left it unclear if a broad Australian twang was actually intended, adding a few moments of distraction from the overall storytelling.
Key supporting performances to note include Tony Cogin as Marley/Scrooge’s father. A commanding presence onstage in his dual roles, Cogin expertly haunts the stage as two emotional engineers of years past. Emily Robinson’s Little Fan is charming and quite stubborn when she needs to be, showcasing the dynamic range needed for the role. Among the list of ensemble performers notably credited to be returning to roles of A Christmas Carol‘s past (I’ll see myself out) included Andrew Coshan as Scrooge’s nephew Fred and newcomer Daniel Frederiksen as Bob Cratchit. These two represented the joy of characters who live for the company of others, despite Scrooge’s initial dismissal of both of them. They are two examples of those who remain merry in their circumstances and bring delight to the stage.
Is A Christmas Carol Worth Seeing in Melbourne?
As a well-known staple of the festival holiday arts scene, this show is definitely worth a visit. Its poignant message is strengthened by the continuation of charity partnerships that have raised $750,000 for families in need over the four consecutive years it has been open. This production helps audiences cherish and celebrate what Christmas can represent within all of us, and this entire company have cultivated a magical night at the theatre.
Tickets and Practical Info for A Christmas Carol in Melbourne 🎟️
Comedy Theatre Melbourne
30 November – 24 December
Tickets: https://christmascarolaustralia.com.au/
