This was my first year seeing A Christmas Carol at The Old Vic, and the experience was quite magical and rather unexpected. As I walked into the auditorium, the first thing that struck me was that the staging was set up for theatre in the round, with the audience completely surrounding the performance space. I’ve only ever seen this configuration used in more modern venues, so encountering it here was a delightful surprise. Many have attempted theatre in the round, though few manage to do it successfully. It’s a bold move, and as far as I could tell, the production looked visually pleasing from every angle; no small feat, but one executed impressively under the direction of Matthew Warchus.
Above the stage hangs a vast array of lanterns, designed by lighting designer Hugh Vanstone. They’re beautiful to look at, and at moments throughout the performance they illuminate in shifting sequences and patterns, enhancing the storytelling with warmth and wonder.
At the centre of the stage sits a small Victorian-style band, and as we take our seats, we’re welcomed by performers handing out mince pies or oranges and chatting with the audience. This instantly creates that feel-good Christmas atmosphere. The sort of festive embrace that makes you lean in before the story even begins.
As the action starts, boxes are taken from the floor to create desks and tables, and door arches move upwards into place. These technical touches are fascinating to watch, even if not strictly necessary, especially considering that other props and boxes are carried on manually later in the performance. Still, the overall effect is visually dynamic.
Paul Hilton, our Ebenezer Scrooge, plays the role with far more energy and personality than I’ve seen in other productions. This gives his character a liveliness that makes him compelling to watch, although by the time redemption arrives, he was literally hopping around the stage to demonstrate his transformation, perhaps a touch enthusiastic, yet undeniably entertaining.
Marley (Stuart Neal), our first ghost, left me wanting a more impactful vocal delivery. While the performer has a naturally higher voice, the pitch could have been shaped more intentionally through audio design, especially as he soon after appears as Scrooge’s father.
Between scenes, we hear Christmas tunes from the main band, accompanied by some lovely moments when the cast perform with handbells, instantly conjuring Christmas magic. There’s also a charming sequence where snow falls onto the stage, followed by a beautifully choreographed snowball fight that was genuinely joyful to watch.
There are a few minor deviations from Dickens in the first act: Fezziwig (Alastair Parker) is reimagined as an undertaker; Belle (Tanisha Spring) becomes Fezziwig’s daughter; and Belle’s storyline unfolds without the traditional engagement. These changes are subtle enough not to distract but noticeable for those familiar with, or studying, the text.
After the interval, the production diverges further, as the Ghost of Christmas Future enters with a haunting, beautifully choreographed choral moment, only then to appear in the form of Fanny, or Little Fan (Lauren Jones). Rather than the traditional silent figure pointing ominously, she converses openly with Scrooge. If you allow yourself to relax into this reinterpretation, it becomes surprisingly moving. It keeps the heart of A Christmas Carol intact, though it undeniably alters the texture. Making all three spirits female leans into the idea of the three Fates, and this thematic choice works rather well.
The tone shifts again in the second half, into something almost pantomime-like. The house lights rise, and the audience are asked to help move the feast from Fred’s house. Fred (Matthew Durkan) pops up around the balcony, adding to the merriment. There are moments of audience participation; nothing alarming, and it appears performers have checked beforehand that people are comfortable joining in. A few delightful ad libs fill the pauses and contribute to the festive cheer.
As the snow fills the air once more and the play draws to a close, we’re treated to another handbell performance and gently reminded of the charity, Feeding Britain, for whom the Old Vic is collecting this year.
And in the immortal words of Tiny Tim (Olive Mac Mahon): God bless us, every one.
A Christmas Carol runs at The Old Vic until 10 January 2026.
Book tickets now at oldvictheatre.com
Words by Valentine Gale-Sides
Photos by Manuel Harlan
