Productions of A Christmas Carol have become an essential feature of the festive season, beloved for their ability to blend a heartwarming tale with a sharp critique of social inequalities. Charles Dickens’ novella resonates as deeply today as it did in Victorian times, offering a message of compassion and redemption that feels particularly relevant in our divided society. Its status as a popular GCSE text ensures its familiarity to younger audiences, making it a perennial favourite for theatres. As an English Teacher who is teaching this text myself, I was genuinely excited to see Derby Theatre’s latest adaptation, however, this production struggles to capitalise on the power of this iconic story, delivering a production that is more puzzling than compelling.
Mike Kenny’s adaptation is torn between loyalty to Dickens’ original text and a series of baffling creative decisions that undermine its effectiveness. Much of the novella’s narrative is retained, but instead of presenting this in a cohesive and imaginative way, the production opts for an awkward and inconsistent approach. For example, the original narrator’s voice is randomly distributed among members of the adult ensemble, creating a fragmented and confusing storytelling style. At times, characters take on lines traditionally reserved for narration, such as Scrooge inexplicably delivering the famous observation about Marley being “dead as a doornail.” This attempt to merge narration with character dialogue feels forced and disrupts the flow of the story.
Even more peculiar is the production’s tendency to shoehorn in key quotations from the novella in ways that feel artificial and performative. Ensemble members frequently recite lines as though reading from a GCSE revision guide, rather than integrating them naturally into the dialogue. This gives the impression that the script prioritises ticking off “key moments” rather than crafting a compelling narrative. The decision to rename the allegorical figure of “Want” as “Poverty” is another curious change that feels unnecessary and detracts from the symbolic weight of the original. Meanwhile, the addition of a subplot where Belle dies and her daughter appears adds emotional complexity but feels out of step with Dickens’ vision, muddying the narrative rather than enriching it.
The production’s visual design fares little better. The stage is often stark and underutilised, with the primary set pieces being three tall, narrow building facades. These facades, though functional, lack the detail and creativity needed to evoke Dickensian London. Worse still, they are cumbersome to manoeuvre, requiring several members of the stage crew—dressed in costume—to rotate or reposition them. While the decision to integrate the stage crew into the aesthetic of the production is practical, it highlights the inefficiency of the set design. Several scenes, particularly during Stave 2, are played on an almost completely bare stage, save for a smoky backdrop and one or two sparse props. This minimalism fails to capture the rich, atmospheric world of Dickens’ novella, leaving the production visually lacklustre.
One of the most frustrating aspects of this adaptation is the inclusion of frequent festive songs, which add little to the storytelling and often detract from the drama. While music can enhance a theatrical production, the choices here feel arbitrary and misplaced. A particularly perplexing mash-up of songs including Deck the Halls and The 12 Days of Christmas in Act 2 stands out as an unnecessary diversion, pulling focus away from the narrative. These musical interludes create a tonal inconsistency that undermines the emotional depth of the story. It is only in Stave 4, where the production strips away these distractions, that it finds moments of genuine poignancy. Here, the focus shifts back to the core narrative, exploring the repercussions of Scrooge’s death on his community. The lighting design in this section is particularly striking, with backlit characters creating shadowy silhouettes that evoke the grim consequences of Scrooge’s greed and neglect.
The use of children in the production feels more like a logistical decision than a deliberate artistic choice. While the child ensemble performs admirably, particularly Charlie Brooks-Hulme as the Ghost of Christmas Past, their presence lacks a cohesive integration into the overall vision. A stronger directorial focus on how children could provide a fresh lens on the story might have added an innovative dimension, but instead, their inclusion feels underdeveloped.
The adult cast works hard to bring energy and depth to their roles, though they are hampered by the uneven script and lacklustre staging. Gareth Williams delivers a competent performance as Scrooge, portraying the character’s transformation with professionalism but without bringing much originality to the role. John Holt-Roberts stands out, finding moments of subtlety and humour that lift the production, while the ensemble’s multi-rolling and instrumental contributions add texture. However, the transitions between roles are often unclear, with insufficient differentiation in costume and props and a clearer use of WHAM—Wigs, Hats, Accessories, and Makeup—would improve this significantly.
Despite these flaws, the production has its merits. The commitment of the cast and the occasional flashes of effective storytelling in Stave 4 demonstrate the potential of this adaptation. The ensemble’s instrumental performances add a layer of vibrancy, and the child company injects moments of charm and energy. However, these elements are not enough to overcome the script’s awkwardness, the inconsistent staging, and the misplaced musical choices.
Ultimately, Derby Theatre’s A Christmas Carol is a disappointing adaptation that fails to capture the richness and complexity of Dickens’ novella. While there are glimpses of what might have been, the production as a whole falls short, leaving audiences with a version of this timeless story that feels uneven and uninspired.
A Christmas Carol plays at Derby Theatre until Saturday 4th January 2025.
Photography throughout from Ali Wright
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