This new Sonia Friedman production of A Christmas Carol has mainly been headline grabbing due to Jim Broadbent making his first stage appearance in a decade, with the role of the redeemed miser Ebenezer Scrooge seeing him reunited with writer Patrick Barlow with whom he has collaborated on countless stage, television and radio works.
This highly creative and imaginative take on the 1843 Charles Dickens novel has all the flavour of a traditional panto and is very much in the mould of Barlow’s acclaimed adaptation of The 39 Steps. Directed by Phelim McDermott, it features an array of props used to comic effect, with just four other actors and two ensemble puppeteers (Jack Parker and Kim Scopes) on stage besides Broadbent to encompass the gamut of the original book’s most treasured characters.
Keir Charles sparkles as both Scrooge’s rather camp nephew, Frederick, and Mr Fezziwig; Adeel Akhtar is most noteworthy as Bob Cratchit; Amanda Bullmore, whilst memorable as the Ghost of Christmas Past, is utterly convincing in each of her roles, including Constance and Mrs Cratchit; and Samantha Spiro is likewise able to switch from a whole host of minor parts to become the larger-than-life Barbara Windsor-inspired Ghost of Christmas Present. But above all, it’s good to see Broadbent so clearly enjoying a comic role – this never more evident than in the second half which sees Scrooge’s transformation into a benevolent, games-loving uncle, with audience members in the front rows of the stalls even treated to some chocolate coins.
Designer Tom Pye meanwhile plays with our idea of stereotypical Dickensian London and a toy Victorian theatre provides a visually stunning frame for the revolving set – which includes the office of Marley and Scrooge, Scrooge’s bedchamber and his nephew’s cheery drawing room – allowing director of movement, Toby Sedgewick (who also worked on The 39 Steps) to inject a huge amount of energy into this retelling.
Whilst the puppetry used to create silhouette tableaux was a nice idea, it could have been a lot smoother, and this technique worked best when employed at the centre of later scenes such as Tiny Tim’s first appearance (no tears in this play), with the other Cratchit children illustrated by the clever manipulation of bonnets.
This A Christmas Carol is a festive family treat, and despite it not being a faithful adaptation, Dickens, who was such an admirer of theatrics, will be far from turning in his grave. With more costume and set changes than you can shake a sprig of holly at and a blinding performance from Broadbent, it certainly succeeds in providing non-stop entertainment and will doubtless make you want to rush out and buy a turkey for a less fortunate this Christmas.
A Christmas Carol at the Noël Coward Theatre, St Martin’s Lane, London, until 30th January 2016. For more information and tickets visit the website.
