The Old Vic’s A Christmas Carol, at Comedy Theatre - 2 hours, including interval

Each year I keep coming back for a repeat dose of Christmas cheer.

Why? Because The Old Vic’s A Christmas Carol is a fine, heartfelt and meaningful production, in which the actor who plays Scrooge changes from year to year.

Charles Dickens’ tale of greed at the expense of humanity may date back to 1843, but its message never grows old.

And this representation is as slick, assured and as family friendly as they come, finishing with merriment and mirth.

Photos by Michelle Hunder

My first recommendation is that you arrive at least 15 minutes early and take your seats.

What immediately strikes you is the activity on stage, enhanced by a litany of old-style glowing lanterns hanging from the ceiling at different heights.

Top hats and long black coats are staples as spirited musical accompaniment is a welcome introduction, carollers spreading the bonhomie to which I referred earlier.

At the same time, they are throwing fresh mandarins into the audience in the stalls and in the dress circle.

Others are walking the aisles in period costuming handing out mini mince pies and mandarins.

It is a convivial environment, which quickly turns to bah and humbug when Scrooge enters the fray.

Conceived and directed by Matthew Warchus, Jack Thorne has brilliantly reimagined the Dickens’ classic story.

It is dramatic and melodic with humorous flourishes.

It recounts Dickens’ novella with relish.

The Old Vic first introduced the play with music in November 2017.

At that time, Rhys Ifans was Ebenezer Scrooge.

While the story of Scrooge, who was “helped” to discover the true meaning of Christmas is familiar, The Old Vic’s interpretation is most agreeable.

This year, Lachy Hulme’s scowl as Scrooge is an unmistakable sign of what is to come.

He wanders about like a bear with a sore tooth, yelling for his good-natured employee Bob Cratchit (Daniel Frederiksen).

Scrooge instructs Cratchit to work well past dark on Christmas Eve, even though the latter’s family, including his young, ailing son, Tiny Tim, is waiting for him.

Scrooge slams the door on choristers and gives short shrift to his nephew (Andrew Coshan).

It is while pouring over his books and counting his money that he is visited by the ghost of his dead partner Marley (Tony Cogin).

Marley informs Ebenezer that further apparitions are on the way.

They are the Ghosts of Christmas Past (Natasha Herbert), Present (Samantha Morley) and Future (Emily Robinson).

It is through them that the story evolves.

Scrooge is introduced to his young, enthusiastic self (Felix Star).

He sees his beloved, deceased sister Little Fan (Emily Robinson), their mean-spirited father (Tony Cogin) and the love of his life, Belle (Claire Warrillow).

So, too, Bob Cratchit’s home environment, in which Bob interacts with Tiny Tim.

After the Ghost of Christmas Future’s visit at the start of Act II, the tone shifts markedly.

That is when the previously obstinate and unsympathetic Scrooge has a change of heart.

Subsequently, peals of laughter ring out in the audience as a suddenly jovial Ebenezer embraces all … and there are surprises aplenty.

Everything about this show is well conceived, as Scrooge’s life lesson hits home and turns his fate on its head.

Lachy Hulme is obstinate and belligerent as Scrooge who, after much persistence, undergoes a metamorphosis.

Of course, that only happens after he is presented with pointed visions.

Emily Robinson is warm, friendly and doting as Little Fan, who is also readily able to channel angst and exasperation as the Ghost of Christmas Future.

Daniel Frederiksen Bob Cratchit is the epitome of respect and restraint in his interactions with Scrooge and effusive with Tiny Tim.

Tony Cogin is menacing as Ebenezer’s ill-tempered father and former business partner Jacob Marley.

Natasha Herbert is persistent as the Ghost of Christmas Past.

Samantha Morley gives as good as she gets … resolute as the Ghost of Christmas Present.

Claire Warrillow harbours disappointment and is reflective as Belle.

On opening night Mira Feldman was delightful and charming as Tiny Tim, one of four alternates in the role.

The minimalist staging (set and costume design is by Rob Howell) is most effective and affecting.

Noteworthy are four doorframes that appear and disappear electronically, which mark the parameters of Scrooge’s office.

As a door is figuratively closed or bolted shut, that is accompanied by heightened and evocative sound effects.

Earlier, I spoke about the impact of the hanging, shimmering lanterns, which are also piled up deliberately untidily on the ground at either side of the stage.

Bells also have a significant part to play in this production … and as events unfold, it snows!

The period costuming transports us back in time, while the creative lighting (from Hugh Vanstone) and impactful sound (from Simon Baker) provide gravitas.

The music (composed and arranged by Christopher Nightingale) is very easy on the ear.

The Old Vic’s A Christmas Carol is a superb introduction to the festive season.

The winner of five Tony Awards, it is poised and polished, joyful and triumphant … and heaps of fun.

I walked out feeling enriched for the experience.

It is playing at the Comedy Theatre until 24^th December, 2025.