A Christmas Carol The Musical at the Lyceum Theatre, London. There are also performances at 4pm and 7.30pm on 17 December 2018.
Star rating: four stars ★ ★ ★ ★ ✩
An uplifting and enjoyable evening, this event was supporting ground-breaking global research into life-limiting blood conditions at King’s College London and its hospital partners. Made all the more poignant because principal conductor of the London Musical Theatre Orchestra, Freddie Tapner, was diagnosed with a rare blood cancer aged 16, and with pioneering treatment is now fit and healthy.
The LMTO plays the score with zest and finesse, though at times the sheer volume of sound swamps the soloists. The LMTO chorus members seize their moments too, revelling in the bouncing marches and waltzes that dominate the choral sections of this score. All young professionals, they shine in their solo moments, with some exceptional voices ringing through.
Griff Rhys Jones is Scrooge, and though not an accomplished singer, he is a warm and likeable Scrooge after his transformation, less convincing as the old curmudgeon before the ghostly visions of Christmas.
Rosemary Ashe, Nicholas Colicos and Caroline Sheen make the most of their various parts, and David Hunter wins our sympathy as Bob Cratchit. Cedric Neal is the best of the three Christmas ghosts, relishing his moment centre stage. Lucie Jones, as Emily, is sadly under-used in this musical score. And little Tobias Ungleson is delightful as Tiny Tim, with a lovely singing voice.
Alan Menken and Lynn Ahrens’ score, along with Mike Ockrent and Ahrens’ book, doesn’t linger for softer moments or much plot detail before we are whirled into yet another huge chorus or orchestral interlude. Stirring as they are, you long for a bit more drama and bite.
This comes briefly in the presence of Jeremy Secomb, menacing and tragic as the ghost of Jacob Marley, in his song ‘Link By Link’. His voice soars and combined with the driving rhythm of the song, it makes for a thrilling moment.
The choreographic constraints of a concert performance, though well staged by Shaun Kerrison, made me wonder what it was like with Susan Stroman’s choreography to fill out the lengthy interludes in the staged Broadway production.
It’s a feel-good show and the capacity audience loved it, though more Dickens and less Disney would have given it more depth. But go, enjoy, and support this worthy event and these fine artists. It’s Christmas!
Leon Ferguson
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