Melbourne Reviews

As a journalist and writer of 19^th-century London, Charles Dickens witnessed the excesses of some social classes, and the degradation and exploitation of others. Observations informed many of his works, including one festive-season novella of enduring appeal. Of course this is A Christmas Carol (1843), and a production from London’s Old Vic, first seen in Melbourne in 2022, returns for its fourth annual (near-ish) Christmas season.

Affluent – yet famously thrifty – money-lender Ebeneezer Scrooge is in his senior years. He has no time for his only living relative, nephew Fred. Regular human contact seems limited to humble servant Bob Cratchit. But there’s no warmth here, not even today, on Christmas Eve. Cratchit, belatedly allowed to leave the office, is tasked with errands to further delay his family Christmas celebration.

Scrooge would soon be surprised by a spirit in purgatory – former business partner Jacob Marley. He had taken a similar path in life to Scrooge. Marley warns that three visions will visit this night: the ghosts of Christmases past, present, and future. If Scrooge can see his mistakes and change his ways, perhaps he can avoid his partner’s fate.

First performed in England in 2017, this version of A Christmas Carol was written by Jack Thorne, with the stage adaptation conceived and directed by Matthew Warchus. It retains the essence of a ghost story, yet the supernatural elements are supported by some nifty technological innovations.

Recalling the 2023 season, the production has, unsurprisingly, kept many features. As the audience enters the venue, the ensemble, dressed in Victorian costumes, offer pleasantly spiced (if durably constructed, which would make sense for the times) fruit mince pies. The enthusiastic lobbing of mandarins by players seems to remain a test of some punters’ hand-eye coordination. Musicians played traditional and lively tunes on stage. Indeed, this corner of London, including we new arrivals, seems to hum with Yuletide jollity and goodwill. It would contrast sharply with our imminent peek into Scrooge’s life of grim austerity.

Yet there are changes from past seasons. Each year has brought a different lead, and 2025 has Lachy Hulme (of numerous stage and screen credits). Unlike 2023’s star, Welsh actor Owen Teale continuing on from a UK run, Hulme’s gravelly voice makes this Scrooge sound like a man who punches darts between ledger entries.

This attribute might well support the belligerence shown (well, mostly) by Scrooge towards his spirit visitors as he rejects their intended lessons on his life. But, possibly depending on where you sit, some other production features might lessen your Christmas cheer.

The lighting could often be shadowy, or of a dim, milky nature, suitable for creating an unsettled mood. Yet, it regularly conspired with Scrooge’s facial hair to conceal his expressions. Also, fairly quickly, repeated views of the back of Hulme’s coat became quite distracting. Further, the volume of musical offerings could render the ensemble’s narration difficult to discern. (Happily, this was far less of an issue in the second act.) I don’t recall any such matters pulling me out of my immersion in the tale’s 2023 telling.

Travelling through time, the production effectively outlined how the young, enthusiastic, and curious Ebeneezer (Felix Star) suffered from the aims of his disinterested, debt-laden father (Tony Cogin). But the spirits, such as the Ghost of Christmas Past (Natasha Herbert) are here to keep Scrooge honest – Ebeneezer also made choices to the detriment of his relationships. Scenes with his spurned young love Belle (Claire Warrillow) give the sense of what might have been. Hulme admits a kind of grudging regret, suppressed quickly. But by the end of the first act, having his conscience pricked by The Ghost of Christmas Present (Samantha Morley, gentle or challenging by turns in response to Scrooge’s conduct), there’s enough of a hint that Scrooge might yet, despite his resistance, rethink how he lives his life.

In the encounter with Christmas future, the generosity of spirit shown by Bob Cratchit (Daniel Frederiksen) and nephew Fred (Andrew Coshan) play suitably subtle but useful roles in suggesting to Scrooge that maybe he has misjudged people. And once he decides to return to the human family, the production reminds us of the adage that there’s no zealot like a convert. Melbourne audiences are unlikely to see a more vigorous outpouring of joy in another production time soon.

Much credit for the production’s success in transporting us to Victorian England is due to the work of Rob Howell on Set and Costumes. A particularly delightful feature of the set is door frames that rotate down and out of view, as if Scrooge’s office is dissolving as he is guided by spirits towards reminiscences and possible futures.

Between the melodious bell ringing by the ensemble and some pleasing snippets of Christmas carols at key junctures, there is more than a sprinkling of magic in this well-paced tale.

It’s also a family friendly one. The surprise of the telling for us crusty adults who think we know the story is how it can resonate with us in new ways. For example, when left alone on Christmas Eve, Scrooge utters words to the effect that he has toiled for another year, and is no better off than he was. Some of us, neglecting that we have the comfort of a home, and the time and good health to attend the theatre, could have found ourselves thinking similar thoughts as another December approaches.

A Christmas Carol gives us a little nudge to appreciate that some things aren’t so important, and maybe we can afford to help others a little more. At the end of the show, the bucket collection for FareShare, a charity helping people dealing with food insecurity, is a nice way to put such a thought into action, even if it’s not quite the socialism that writers like Dickens might have hoped for in their day. (The benefit of modern times is that those concerned about their home accounting can donate online to get a receipt.)