A Christmas Carol – The Musical Staged Concert – Dominion Theatre

Lucie Jones and Brian Conley in A Christmas Carol at the Domion Theatre

A Christmas Carol – The Musical Staged Concert at the Dominion Theatre, London.

Star rating: five stars ★ ★ ★ ★ ★

Nobody set out to be an Ebenezer Scrooge this year, but some are being forced into it by circumstance. We are pinching every penny in anticipation of the economic fallout of the pandemic and Britain’s exit from the EU; we have built up emotional walls after the sad loss of loved ones over the last year; and a good many of us are to spend Christmas alone this year, terrified of what ghosts may come during those sleepless nights.

So, there has never been a better time for A Christmas Carol. Sometimes with and sometimes without Muppets, this story is ubiquitous this time of year. Even with so few theatres operating this winter, there have been two professional productions in London alone. I am yet to see The Bridge Theatre’s well-reviewed effort, but the always-wonderful London Musical Theatre Orchestra has brought Alan Menken’s (music), Lynn Ahrens’ (book and lyrics), and Mike Ockrent’s (book) hugely successful 1994 adaptation to London’s cavernous Dominion Theatre, and it is quite the tonic.

Of course, most of the audience will know every twist and turn of Dickens’ story. Our annual dose of A Christmas Carol comes less as traditional entertainment, and more like church. This is a ritual retelling of a story with a message as purely Christian as it gets. The joy of this production comes not from any great narrative innovation, but from the creativity and flair in the retelling.

Those who grew up on Menken’s music in his cinematic work will be overjoyed by the colossal sound of the London Musical Theatre Orchestra. Musical director Freddie Tapner could be the show’s MVP. This audience has not heard a full orchestra in months, and the sudden impact of these epic arrangements is levelling. Every single musician on stage plays with extraordinary skill and precision, to almost overwhelming effect.

Though this is advertised as a “staged concert”, the props, lighting, projections, and even special effects, are perfectly immersive. The audience is invested from the moment the lights go down and director Shaun Kerrison keeps their attention with an impressively lively – but regulation-abiding – stage.

Brian Conley stars as Ebenezer Scrooge. His singing may not quite equal the virtuosity of the orchestra, but he has perfected the art of commanding an audience, and on this occasion is more than forgiving of an occasional lapse into sprechgesang – a technique which is admittedly somewhat appropriate for the character anyway. Conley throws himself whole-heartedly into his role; and to the floor in fear of ghosts; and all around the Dominion’s considerable stage as supernatural forces take over his home. His commitment is commendable, his comic timing is impeccable, and his youthful joie de vivre at the show’s conclusion is stirring.

The supporting cast is starry and abundant. Matt Jay-Willis’ Bob Cratchit has a diminished role in this adaptation, but his portrayal of a kind family man is heart-warming, and his scenes come as blessed relief from some of Scrooge’s bleaker moments. Jacqueline Jossa dons a creepy eye-covering and makes an effectively spooky Ghost of Christmas Future. Cedric Neal puts his stunningly capable voice to work as a flamboyant Ghost of Christmas Present. Sam Oladeinde plays the young Scrooge, and his spirited scenes during “Mr Fezziwig’s Annual Christmas Ball” are one of the night’s many highlights. Lucie Jones plays an effervescent Ghost of Christmas Past, a delightful ray of brightness in the gothic Victorian dark.

And then, of course, there are the children. These youngsters are far more talented than they have any right to be at their age. It should be infuriating, but they are so charming and so brilliant that they round out the cast perfectly. Tonight, this large and diverse group of performers gift us a slice of humanity, a humanity from which we have been so torturously cut off this past year.

Scrooge’s line early in the play, “let them die and decrease the surplus population” – which draws an audible gasp from the audience – is no longer just the contemptible outburst of literature’s great misanthrope: this spring it became our country’s official response to an emerging global pandemic. That mishandling has led to shocking death, suffering and economic devastation. As a direct result, this life-affirming production with a timely message that was surely bound for commercial success will be forced to close just one day after opening. As is happening across the sector, countless people will find themselves suddenly out of work and lacking adequate support.

Just as poverty breeds disease, fear breeds selfishness. The arts are a counterweight, forcing us to recognise the humanity in others and to understand our social responsibilities. We are moved to care about the fate of Tiny Tim not because we are a fictitious miser divining ghostly messages, but because we know we must embody that kindness Dickens strove to teach us if we are all to survive the immense challenges this year has thrown up. Relearning this lesson is valuable for all of us, government ministers included. We only can hope that we take care of those in need this Christmas and that, consequently, our theatres can safely reopen soon.

Ian Bowkett