First performed in 1992 and staged only fitfully since then, Northern Ballet’s version of A Christmas Carol is further proof of the company’s flair for creating enthralling narrative dance spectacles. With its combination of dynamic choreography (courtesy of Massimo Moricone) and lucid storytelling, I would rank A Christmas Carol alongside Cathy Marston’s version of Jane Eyre and David Nixon’s retelling of The Great Gatsby as one of Northern Ballet’s most impressive productions.
Since its publication in 1843, Charles Dickens’s classic story of the Victorian miser Ebenezer Scrooge has become a much-loved Christmas staple, inspiring countless adaptations involving such diverse talents as Alastair Sim, Bill Murray and even the Muppets. Director Christopher Gable has done a fine job of preserving the core narrative thrust of the original novella. While purists may dislike some of the show’s omissions—for example, no time is spent dwelling on Ebenezer’s lonely childhood in a boarding school—I would suggest that these edits keep the production trim and well-paced.
Jonathan Hanks acquits himself extremely well as Ebenezer Scrooge, clearly relishing the opportunity to inhabit such a misanthropic character. His permanent scowl (greatly enhanced by Harriet Rogers’s make-up) and harsh gestures reminded me of the dastardly villains that populate silent cinema, and his spiritual redemption at the end of the show was powerfully rendered through a joyful and energetic solo.
Harris Beattie impresses as Scrooge’s faithful employee / whipping boy Bob Cratchit, forced to work under the watchful eye of a humourless tyrant. In a striking solo full of spirited leaps, Beattie powerfully conveys the character’s unrelenting optimism.
One of the production’s most impressive moments occurs during Scrooge’s visit to the past, when he watches his younger self (George Liang) perform a moving pas de deux with his former love, Belle (Dominique Larose), which dramatises the decline of their relationship. Liang and Larose both dance with considerable sensitivity and expressiveness.
There is much darkness on Scrooge’s journey to the light, so praise must go to Bruno Serraclara and Amber Lewis for their hilarious double act as Mr and Mrs Fezziwig, Scrooge’s former employers.
One of the chief pleasures of this production is its depiction of the supernatural, from the long-fingered ghouls which encircle Scrooge while he lies in bed to the skeletal Ghost of Christmas Yet to Come with its moth-eaten wings. Andrew Tomlinson (Jacob Marley), Saeka Shirai (Ghost of Christmas Past) and Harry Skoupas (Ghost of Christmas Present) all perform their roles with aplomb. As one might expect, Les Brotherson’s superb costumes form a pivotal part of the production.
Brotherston’s two-tiered set design provides a versatile performance space, transforming effortlessly from a Victorian street scene to Scrooge’s cramped office to the Cratchit family’s modest home.
Unfortunately, Arts Council funding cuts mean that this tour of A Christmas Carol is relying upon a recording of Carl Davis’s score rather than live accompaniment from the Northern Ballet Sinfonia. While this is deeply regrettable, it is a testament to the strength of the production that it still manages to cast a spell upon the audience.
Visually exciting and dramatically engaging, A Christmas Carol is an irresistible festive treat.
Reviewer: James Ballands