A Christmas Carol: A Ghost Story at Alexandra Palace Review
Written by Mia for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Arguably one of the most famous Christmas (and indeed ghost) stories of all time, Charles Dickens’ tale of the miserly Ebeneezer Scrooge has been interpreted in multiple ways - including the unforgettable screen adaptation with the muppets.
Mark Gatiss has chosen to lean into the dark side of the story, which director Adam Penford enhances with a clever combination of lighting, sound and visuals. This means there are a few jump scares, not to mention plenty of chilling moments for the sinister Ghost of Christmas Yet to Come and Jacob Marley in particular. The reveal of Jacob Marley (Neil Morrissey) is particularly impressive and John Bulleid is to be commended for his illusions here and throughout the performance.
In fact, everything about this production felt considered, from Paul Wills’ fantastically designed set that begins as towering stacks of filing cabinets and books, and transforms into bedrooms, classrooms and kitchens. There are so many exquisite details here, forcing your eyes to dart about the stage like an excited child on Christmas Eve, as you take in the fairy lights, ghostly apparitions and night sky above.
Yet the true charm of Dickens’ story is not forgotten, with multiple heartfelt moments and humour. Some of the funnier lines are lost in cast delivery, which is a shame, as they are so memorable and deserve laughter worthy of the Ghost of Christmas Present (excellently portrayed by Mark Theodore). For the most part, the cast brings new but familiar interpretations to each character, although this may not please everyone.
Grace Daly brings a different slant to the Ghost of Christmas Past, less childlike and worldly wise than some performances, but energetic and spritely nonetheless. Her delivery is strong and making this character more physical gives her a slight teenage vibe that actually works quite well. Michael Mears gives a strong performance as the narrator, and his final scene is extremely poignant when his true identity is revealed.
Scrooge (Matthew Cottle) is quite different in this production. Perhaps it’s because we see more of him as a child that it’s more pity and sorrow that we feel, instead of anger and disdain. As a young man, Scrooge is seen enjoying Christmas and speaking of his desire to marry and start a family; when he berates others for this as an adult, his backstory makes him more human throughout and his slow redemption is more believable. Cottle does this well, although his decision to change comes a little too quickly.
What elevates this production is its physical charm, as the characters’ ups and downs are portrayed with such contrast. We see the upbeat dancing and game playing of the Fezziwigs and Freds’ friends, followed by the Cratchits’ humble, yet lovely, celebration of family, but the real sense of love and celebration comes across in both. When the scenes change to the darker ‘future’ Christmases, it’s impossible not to feel for them as their lives are torn apart.
There’s so much to love in this production and by the end, having been on such a journey with Scrooge and the other characters, the final rendition of O Come All Ye Faithful is so beautiful that it may leave even the biggest grinch feeling festive.
Plays at Alexandra Palace until 4 January 2026
★ ★ ★ ★ ★
