A Christmas Carol is a true Christmas classic, comfortingly familiar in every respect, from the story of the three ghosts and Scrooge’s redemption, to the classic lines ‘bah humbug’ and the sickly sweet ‘God bless us everyone’. Dickens’ tale has been adapted and readapted, in numerous film and play versions over the years, of which everyone has their favourite version.
Yet in its very popularity lies its downfall. It is difficult for both performers and audience to approach the play with fresh eyes. For the audience, it is hard to resist comparisons to previous viewings, and difficult to assess whether enjoyment of the play is caused by the performance itself or by relived memories of past productions. And the actors face a tricky task in trying to bring something new and original to such an established piece which does not, perhaps, lend itself to radical staging, which would in any case provoke the indignation of the audience.
The Old Gaol Theatre Company’s production manages to combine faithfulness to the Dickens tale with some nice flourishes. They create a fun and festive atmosphere, particularly in the jolly dancing and singing scenes. These moments are extended to include carols and duets, and are choreographed well. Similarly successful were many of the more comic scenes. The black humour of the sale of Scrooge’s personal effects from his deathbed worked well, although the more poignant side of this could have been better underlined by making Scrooge’s reactions more visible to the audience.
Indeed, a little more subtlety and attention to the smaller details would have been useful throughout. Scrooge, though largely engaging, often delivered his lines in a shout, to convey the harshness of the character’s voice and temperament, yet this made the more delicate moments, such as the end of his engagement to Belle, difficult to carry off. The sadder scenes are also less successful, such as those surrounding Tiny Tim’s possible death, which is made rather less tragic by the fact that Tiny Tim is in fact a stuffed doll. In fairness, this was probably due to the difficulties of casting for an amateur group, and in any case Tiny Tim is a boy of few words. At least by having an inanimate version we were spared his little voice saying those immortal words....
All in all this was a smooth performance, with some fun touches in the direction (like the human door handle!). It does not do anything ground breaking, but nor should it, and if it brings a little Christmas cheer to its audience, then it has done its job very nicely.
Yet in its very popularity lies its downfall. It is difficult for both performers and audience to approach the play with fresh eyes. For the audience, it is hard to resist comparisons to previous viewings, and difficult to assess whether enjoyment of the play is caused by the performance itself or by relived memories of past productions. And the actors face a tricky task in trying to bring something new and original to such an established piece which does not, perhaps, lend itself to radical staging, which would in any case provoke the indignation of the audience.
The Old Gaol Theatre Company’s production manages to combine faithfulness to the Dickens tale with some nice flourishes. They create a fun and festive atmosphere, particularly in the jolly dancing and singing scenes. These moments are extended to include carols and duets, and are choreographed well. Similarly successful were many of the more comic scenes. The black humour of the sale of Scrooge’s personal effects from his deathbed worked well, although the more poignant side of this could have been better underlined by making Scrooge’s reactions more visible to the audience.
Indeed, a little more subtlety and attention to the smaller details would have been useful throughout. Scrooge, though largely engaging, often delivered his lines in a shout, to convey the harshness of the character’s voice and temperament, yet this made the more delicate moments, such as the end of his engagement to Belle, difficult to carry off. The sadder scenes are also less successful, such as those surrounding Tiny Tim’s possible death, which is made rather less tragic by the fact that Tiny Tim is in fact a stuffed doll. In fairness, this was probably due to the difficulties of casting for an amateur group, and in any case Tiny Tim is a boy of few words. At least by having an inanimate version we were spared his little voice saying those immortal words....
All in all this was a smooth performance, with some fun touches in the direction (like the human door handle!). It does not do anything ground breaking, but nor should it, and if it brings a little Christmas cheer to its audience, then it has done its job very nicely.