It’s holiday season in Melbourne, which means the Old Vic production of Charles Dickens’ A Christmas Carol is treading the boards at the Comedy Theatre for a third consecutive year. This dark and delightful theatrical masterpiece continues to dazzle audiences and this time around we have Australian TV star Erik Thomson (All Saints, Packed to the Rafters) playing the role of Scrooge.
Dickens’ story of a horribly mean miser who is haunted by three spirits on Christmas Eve and learns to change his ways and embrace the giving spirit of the season has been told in many different ways and has been adapted for stage and screen multiple times since its publication in 1843. Films were released in 1938 (a Hollywood Golden Age version), 1992 (starring The Muppets) and as recently as 2009 (a digitally animated version produced by Disney and starring Jim Carrey).
On the small screen TV adaptations have appeared regularly, with a recent BBC series starred Guy Pearce (2019). On stage there have been big Broadway musical versions: Scrooge in 1992 and A Christmas Carol: The Musical in 1994 with music by Alan Menken, as well as one-man versions starring Patrick Stewart (1988) and Jefferson Mays (2018).
However, this conception by writer Jack Thorne and director Matthew Warchus is the perfect adaptation of this timeless tale. This Christmas Carol features gorgeous and evocative staging, exciting moments of magic and a deep emotional resonance.
The production has played all over the world since it first opened at the Old Vic in 2017 and the lead role has been played by an impressive roster of talent, including Rhys Ifans, Andrew Lincoln and Christopher Eccleston. The inaugural Melbourne season starred David Wenham and last year it was Welsh actor Owen Teale. Although Thomson is known predominantly for his TV and film work, the Scottish-born New Zealand-Australian actor does have a few theatre credits under his belt.
Thomson equips himself well, leaning into Scrooge’s dismissive nature and nasty persona in the early stages of the show before showing a softer side in the second act, particularly in his tender exchanges with Tiny Tim (Mira Feldman). However, Thomson doesn’t quite have a strong grasp on the language in Thorne’s beautifully poetic book and several lines seemed a tad rushed on opening night. His epiphany later in the story doesn’t have the same transformative power or pack as much of an emotional punch as it has in previous productions. All in all, Thomson does a commendable job as Scrooge.
Other new faces in the 2024 cast include Alison Whyte as a flighty yet forthright Ghost of Christmas Past, Anthony Cogin as an imposing Father/Jacob Marley and Tim Wright brings a lovely paternal warmth to the role of Bob Cratchit. These performers all fit seamlessly into the returning ensemble cast and the vocal prowess and powerful physicality of everyone on stage ensures that this telling of A Christmas Carol is truly one to treasure.
Even on my third viewing, this sensational production continues to reveal new layers and exciting revelations. This time around I was struck by just how comedic this piece is at times; Scrooge cutting off Fred’s (Kaya Byrne) heartfelt speech during the Christmas party scene, The Ghost of Christmas Present (Samantha Morely) confessing the she “always wanted to be called Brenda” or Scrooge exclaiming to Marley that he has a “lovely singing voice,” all offer little moments of levity within the central drama.
Hugh Vanstone’s lighting design continues to astound with its atmospheric wonder – from big moments, such as the downlights highlighting the creepy breathing beneath the black veils of the ensemble as they advance on Scrooge as The Ghost of Christmas future, to more subtle scenes – such as when Scrooge reunites with Belle (Sarah Morrison) at her front door, the lighting slightly shifts throughout to convey the tenderness and trepidation of these characters in this pivotal moment.
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The ingenious evolution of the set design is another element I noticed more clearly upon my return – the way the lanterns carried by the ghosts grow bigger with each iteration, or when the glorious golden bells rise from the large piles of discarded old lanterns signalling Scrooge’s life-changing revelation. These new observations demonstrate just what an accomplished, thoughtful and compelling production this Christmas Carol continues to be.
A Christmas Carol, The Comedy Theatre
A version by Jack Thorne
Conceived and Directed by Matthew Warchus
Set and Costume: Rob Howell
Composer and Arranger: Christopher Nightingale
Lighting: Hugh Vanstone
Sound: Simon Baker
Movement: Lizzi Gee
Hair, Wigs and Make Up: Campbell Young Associates
International Associate Director: Jamie Manton
Musical Supervisor: Laurie Perkins
Australian Musical Supervisor: Peter Rutherford
Musical Director: Vicky Jacobs
Australian Associate Director: David Spencer
Australian Design Associate: Sophie Woodward
Associate Lighting Designer: Hugh Hamilton
Associate Sound Designer: David Greasley
Associate Costume Designer: Sharon Williams
Casting Director: Natalie Gilhome
Resident Choreographer: Jan Di Pietro
Cast: Erik Thomson, Aisha Aidara, Kaya Byrne, Anthony Cogin, Benjamin Colley, Stephanie Lambourn, Kaori Maeda-Judge, Samantha Morley, Sarah Morrison, Grant Piro, Felix Star, Cameron Taylor, Alison Whyte, Tim Wright, Jack van Staveren, Jasmine Vaughns, Mira Feldman, Wynton Inman, Libby Segal, Noah Sherburn
A Christmas Carol will be performed until 29 December 2024.
