Review: A Christmas Carol

This is quite possibly the best stage adaptation of Charles Dickens’s A Christmas Carol I’ve seen. And there have been a lot of them: This holiday chestnut is an audience favorite, and – even better for theatres’ budgets – in the public domain. For this Broadway version, which originated at London’s Old Vic, adaptor Jack Thorne brilliantly interweaves sharp social commentary (never far away in Dickens) with ineffable warmth and joy.

Director Matthew Warchus greatly magnifies that warmth even before the show starts, with the cast tossing and passing clementines and cookies to the audience. They even chat congenially with the audience – a friend of mine had some lovely face time with Andrea Martin (who plays the Spirit of Christmas Past). The smell of people peeling clementines hugely helps to conjure the Christmas spirit. Get there early!

Our Scrooge is Cambpell Scott (whose father George C. Scott played the role in a terrific 1984 TV movie adaptation). He brings great nuance to the role, with flashes of vulnerability even early on, which clearly unnerve Scrooge, but also foreshadow his eventual change of heart. And when that change of heart comes, Warchus turns the warmth and joy all the way up with another bit of audience interaction which spectacularly embraces the entire theatre.

Rob Howell’s set envelops the theatre as well, with Victorian lanterns in huge numbers hanging over the stage and audience. Thorne treats the story as an ensemble piece, and when that ensemble includes performers as fine as Martin and LaChanze, you know you’re in good hands. In another super-smart twist, Tiny Tim is played by a differently-abled boy (Jai Ram Srinivasan at the performance I attended) which makes the scenes with him – which can be mawkishly sentimental – much more realistic and all the more genuinely touching for it. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

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