A Christmas Carol is evidently one of the greatest Christmas stories, with countless adaptations and reimaginings giving very different takes on the tale over the festive period. Hope Mill Theatre’s A Christmas Carol, however, stays true to Charles Dickens’ original, but breathes new life and new perspective to the story.
With a book by Mike Ockrent and Lynn Ahrens, with music by Alan Menken and lyrics by Ahrens, the story takes a female perspective as we meet Evelina Scrooge, and through the visits from the three spirits, we learn more about the motive behind Scrooge’s callous nature and how her past experiences have shaped her as a person.
Directors Joseph Houston and William Whelton have done a remarkable job in bringing this story to life and must be commended for making history by being the first to imagine the protagonist as a woman in the musical version. Throughout, there have been careful considerations in the way in which the story translates from page to stage, in a way which honours and celebrates this incredible tale, bringing its important message to forefront.
The ensemble are utilised extremely well, ensuring that transitions and set changes are choreographed seamlessly. The music by Menken and Ahrens is a clear focal point of storytelling. Each song feels purposeful and aids to the story, and vocal performances are exquisite throughout.
Claire Moore as Evelina Scrooge gives a solid performance and portrays a good contrast between the horrid and stingy nature, to the joie de vivre after the epiphany. Josie Benson gives a standout performance as Mrs Fezziwig, oozing exuberance at the ball with impressive vocal reach. James Hume is delightful as Christmas Present, bringing a refreshing air of Panto Dame over the festive period. Barry Keenan gives a strong performance in his limited time as Marley’s Ghost. Matthew Jeans as Mr Cratchit and Joel Tennant as Tiny Tim bring warmth and heart to the story.
Throughout, the ensemble provides high energy and impactful performances, with George Lyons’ choreography being a highlight in the ball scene. The ensemble are solid throughout, with many jumping into the role of several characters to move the story along. A particular mention here to Sammy Graham who stuns with an incredible vocal performance as Scrooge as a young adult, with the loss of the love of her life being a major contributing factor to future Scrooge’s heartless nature.
Andrew Exeter once again hits the mark with innovative set design. Honouring the original literature from Dickens, the walls of the stage and the stage curtain are adorned with pages from the book, with stacks of books being utilised as tables and stands. The walls of the set encompass Scrooge, giving a sense of entrapment. Old fashioned lamps and costume by Lorraine Parry are reminiscent of the Victorian era. Parry’s costume design is also stunning in the London Palladium scene, demonstrating a juxtaposition between the poor and the rich theatregoers.
Video Projection design (Alessandro Uragallo) is utilised extremely well to transport the story to different locations. A particular highlight being the graveyard scene with the Christmas Yet To Come Spirit, and the clock projected onto the back wall serving as a reminder of the time passing as each spirit visits. Alex Musgrave’s sepia toned lighting design reminds one of the colourless life that Scrooge leads, and is a bleak reminder of the outlook on life that she has.
The magic of theatre is the true spirit of this production with A Christmas Carol being a festive treat for all the family. Hope Mill Theatre once again hit the mark as Houston and Whelton prove that they are truly some of the best in the business.
Hope Mill Theatre’s A Christmas Carol runs at the Lowry until 05th January 2025.
★★★★★ (5*)
Gifted tickets in return for an honest review | Photography by Matt Crockett
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