Review - A Christmas Carol - Alexandra Palace
We were recently invited to the press launch of the latest adaptation of the classic spooky Charles Dickens story - A Christmas Carol. Performed at the run down Alexandra Palace, this new production adapted by Mark Gatiss had a lot to offer
After climbing the hill to Alexandra Palace on a cold wintry evening, we entered into this wonderfully unrestored old theatre. The ghosts of décor past are barely visible upon the cracked plastered walls and highly decorative ceiling with what seems, in the dim lights, to be of a naïve folk-art style – although originally would have been heavily gilt decorated. This environment is worth mentioning as it’s the perfect setting for this pandemic-delayed Dickens Christmas classic.
Christmas bells playing Victorian carols mixed with a chilly soundscape, transported us back in time as we took our seats. Silhouettes of what appeared to be toppling towers decorated the dim open stage as the anticipation rose for Mark Gatiss’ reimagining of this immortal ghost story. Being unashamed Dickens fans, we know this story well and wondered how faithful this production would be following Mr Gatiss’ enjoyable reincarnations of Sherlock and the classic Dracula. It did not disappoint.
The show opens with a flashback to a briefly alive Jacob Marley (Gatiss) and quickly educates us in the intricacies of Bob Cratchit’s wretched character and the hierarchies of Victorian life. It is often forgotten that Dickens wrote with dark humour and Mr Gatiss manages to give us a chuckle as we witness Marley’s sudden death. Ebenezer Scrooge is wonderfully portrayed by Nicholas Farrell and plays well within the mean-spirit and comic timing of this pompous ledger-loving old git. Mr Gatiss’ script is almost indistinguishable from Dickens’ original and certainly does not deter from total immersion in the story.
To quote Dickens, ‘Darkness is cheap and Scrooge liked it’. The set and costumes are exactly what you want; the scenic toppling towers (now revealed to be elongated filing cabinets) give structure, height and ultimately style to Paul Wills’ clever set design. The costumes perfectly evoke early Victorian time with a palette that gives a sense of aged and well-worn clothes befitting this obviously poor society. The theatricality is improved greatly by the stagecraft and lighting, with cast members turning the set, and subtle projection used throughout to set the scenes with skill and wonder. Some excellent effects are also at play and unexpectedly help to remind you of the spooky nature of this tale.
Once we are on the journey with the ghosts, set changes and lighting effects by Philip Gladwell are glorious and totally engaging in these transformative scenes. Along with joyous projection design by Nina Dunn and illusion by John Bulleid, Old London is here and now. The ghosts are rarely scary but true to the original tale along with an added twist at the end. The ensemble cast work hard at creating the different levels of jollity and depression and even Mr Gatiss’ several cameo roles help keep him involved in the storyline.
Emotionally some of the scenes perhaps didn’t quite achieve their goals but visually we were totally satisfied and enjoyed this production immensely.
We can only add, if you haven’t already got a ticket for director Adam Penford’s superb production, get one quickly as it's sure to sell out. Oh Come All Ye Faithful.
A Christmas Carol runs until January 2022
After climbing the hill to Alexandra Palace on a cold wintry evening, we entered into this wonderfully unrestored old theatre. The ghosts of décor past are barely visible upon the cracked plastered walls and highly decorative ceiling with what seems, in the dim lights, to be of a naïve folk-art style – although originally would have been heavily gilt decorated. This environment is worth mentioning as it’s the perfect setting for this pandemic-delayed Dickens Christmas classic.
Christmas bells playing Victorian carols mixed with a chilly soundscape, transported us back in time as we took our seats. Silhouettes of what appeared to be toppling towers decorated the dim open stage as the anticipation rose for Mark Gatiss’ reimagining of this immortal ghost story. Being unashamed Dickens fans, we know this story well and wondered how faithful this production would be following Mr Gatiss’ enjoyable reincarnations of Sherlock and the classic Dracula. It did not disappoint.
The show opens with a flashback to a briefly alive Jacob Marley (Gatiss) and quickly educates us in the intricacies of Bob Cratchit’s wretched character and the hierarchies of Victorian life. It is often forgotten that Dickens wrote with dark humour and Mr Gatiss manages to give us a chuckle as we witness Marley’s sudden death. Ebenezer Scrooge is wonderfully portrayed by Nicholas Farrell and plays well within the mean-spirit and comic timing of this pompous ledger-loving old git. Mr Gatiss’ script is almost indistinguishable from Dickens’ original and certainly does not deter from total immersion in the story.
To quote Dickens, ‘Darkness is cheap and Scrooge liked it’. The set and costumes are exactly what you want; the scenic toppling towers (now revealed to be elongated filing cabinets) give structure, height and ultimately style to Paul Wills’ clever set design. The costumes perfectly evoke early Victorian time with a palette that gives a sense of aged and well-worn clothes befitting this obviously poor society. The theatricality is improved greatly by the stagecraft and lighting, with cast members turning the set, and subtle projection used throughout to set the scenes with skill and wonder. Some excellent effects are also at play and unexpectedly help to remind you of the spooky nature of this tale.
Once we are on the journey with the ghosts, set changes and lighting effects by Philip Gladwell are glorious and totally engaging in these transformative scenes. Along with joyous projection design by Nina Dunn and illusion by John Bulleid, Old London is here and now. The ghosts are rarely scary but true to the original tale along with an added twist at the end. The ensemble cast work hard at creating the different levels of jollity and depression and even Mr Gatiss’ several cameo roles help keep him involved in the storyline.
Emotionally some of the scenes perhaps didn’t quite achieve their goals but visually we were totally satisfied and enjoyed this production immensely.
We can only add, if you haven’t already got a ticket for director Adam Penford’s superb production, get one quickly as it's sure to sell out. Oh Come All Ye Faithful.
A Christmas Carol runs until January 2022
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