Review: 'A Christmas Carol: At Home' at Leeds Playhouse
As we head into 2021, many of the UK’s theatres remain dark, with shows that were due to open for the Christmas period now on hold. At Leeds Playhouse, however, their festive offering of the classic ‘A Christmas Carol’ was filmed in the period they were meant to open and is now available to stream from the comfort of your own home. Directed by Amy Leach and adapted by Deborah McAndrew, I hooked my laptop up to my TV and imagined I was taking my seat in the Quarry Theatre.
Following the familiar tale of miser Ebenezer Scrooge and his encounters with the three Christmas Spirits, this version of ‘A Christmas Carol’ was inspired by the same production we saw back in 2018 during the Playhouse’s pop-up season during the theatre’s extensive refurbishment. Leach has made many directorial tweaks in order to create, rehearse and perform the production safely, whilst also interweaving accessible elements such as BSL to ensure all audience members can engage with the piece. As a result, yet another beautifully crafted piece of theatre emerges from the Playhouse’s heart of creativity. Building on the success of her extraordinary adaptation of ‘Oliver Twist’ from just before the first lockdown, this version of ‘A Christmas Carol’ is another demonstration of how Leach splendidly orchestrates pieces of theatre that thrive on inclusivity and take flight through the power of imaginative, inventive storytelling. From the opening moments where our performers gather around the theatre’s single ghost light and triumphantly emerge before their virtual audience, we can see that true magic is about to unfold before our eyes.
The ensemble of excellent performers, several of whom we met during Leach’s previous version of ‘A Christmas Carol’ back in 2018, give triumphant and soaring performances against the backdrop of Leach’s directorial vision. Full of an infectious energy that is tangible even through a television screen, the whole ensemble effortlessly executes Dickens’ classic tale of redemption and hope, bringing a welcoming warmth that invites audiences to indulge in the narrative wherever they’re viewing the show from. This sense of warmth and magic pulsates throughout, and finds its way into every aspect of the storytelling. Having Tiny Tim as a puppet is an interesting choice and certainly amplifies aspects of Dickens’ timeless narrative. We see Tim come to life as a symbol of redemption and hope, and with the aid of beautiful puppeteering, this sense of magic stokes the fires of the audience’s collective imagination to great effect.
The cast inhabit and convey the many atmospheres present within the narrative with flair and finesse, taking audiences on a journey that teaches the importance of accepting the vitality of family and togetherness. It would be unjust to single out any member of the cast; the whole company are a personification of what it means to be a fluid, dynamic ensemble in an excellent production. The sense of play and ingenuity is tangible and resonates outward from each member of the company; it’s a joy to watch the performances develop as we embark on the journey with them. Whether they’re teasing Scrooge with litter pickers from a safe distance or dancing in one of the old miser’s conjured memories, the cast excel at breathing life into the narrative with drive and generosity. None of the physical action’s power feels lost in translation from the stage to the screen, and everything feels as if you’re truly sat there being part of every moment.
As was the case with Leach’s previous outstanding Dickensian adaptation, ‘A Christmas Carol’ is a true feast for the eyes, senses and the audience’s collective imagination. Hayley Grindle’s set design is full of intricate details that harmoniously come together to support the ensemble’s storytelling, smoothly taking us through the play-world and allowing the physical action and McAndrew’s text to soar. The sheer grandeur and elaborateness of the set makes me yearn to be back at the theatre, but it translates beautifully to the screen and is a perfect backdrop for Leach’s production to unfold against. Chris Davey’s lighting design is drawn from a cinematic, atmospheric palette that buttresses and amplifies the performances unfolding before us, while Ed Clarke’s sound design throws us headlong into the action and gives every line and piece of John Biddle’s music even more gravitas. Each aspect of the scenography comes together to form a supercharged, storytelling-driven environment that allows every detail of Leach’s lavish production to truly shine.
From the production’s electrifying, atmospheric opening right through to its heartwarming conclusion, Leeds Playhouse’s ‘A Christmas Carol’ is nothing short of a spellbinding end to a challenging year for all of us. It’s a production full of hope, magic and wonderfully inventive storytelling. Whilst is makes me incredibly sad that we haven’t been able to sit in the Playhouse’s Quarry Theatre and enjoy the production in a live setting, I’m incredibly grateful that we’re able to see it on our screens and appreciate the efforts of the entire creative team.
With so many new theatre screenings available at the moment, it can be a tough decision what to pick and see - but Leeds Playhouse’s ‘A Christmas Carol’ has to be on your shortlist. In fact, it may well be the best production of the Dickens classic you will ever see.
‘A Christmas Carol’ is available to stream until 25th December. For more information, tickets and a full cast & creative list visit: https://leedsplayhouse.org.uk/events/a-christmas-carol-at-home/#tickets
Photo Credit: Anthony Robling