top of page

Review: A Christmas Carol at the Comedy Theatre Melbourne

Review by Susanne Dahn

“Life really is such a thrill” and when theatre making comes together like it does in this production, it too is completely thrilling.


A Christmas Carol is a euphoric night at the theatre that leaves audiences exuberant and giddy with joy.

After a sell-out Melbourne season in 2022, London’s Old Vic adaptation of Charles Dicken’s immortal A Christmas Carol has returned. This time with the marvellous Owen Teale in the lead role of Ebenezer Scrooge.

In London the show has played every year by popular demand since it started in 2017. It would not be surprising if it similarly becomes a Melbourne seasonal tradition.


The production was conceived and directed by Matthew Warchus and adapted for the stage by Jack Thorne. Music is by Christopher Nightingale. Set and costume are by Rob Howell. Lighting is by Hugh Vanstone. Sound is by Simon Baker. This is a six star team.


On Broadway the show was bestowed with five Tony Awards most of which were for its technical theatre excellence - set design, lighting, sound and costume - as well as for the original score. And if you see the show, you will see why.


The immersive experience starts as you enter the sparkling and heavily lantern-hung theatre to be greeted by 19th century costumed Londoners offering mince pies from bellytrays. (There is also the gluten-free mandarin option which of course begs to be tossed about a bit and caught in slips.)


The costuming in exacting layers readily enables the multiple-part playing and representation of all the traditional roles in this timeless classic with their modern quirky (“I’ve always wanted to be called Brenda”) twists.


The core stage is a brilliant and cleverly hollowed out cross design protruding forward to the audience by sacrificing a row and a half of the Comedy Theatre‘s front stalls. Players have access to the audience both there and in various positions around the orchestra and dress circle. This design generates a remarkable intimacy and connection with the audience.

Sound design and set design intersect with brilliant retractable doorways void of actual doors but heavy with door sound effects. “The doors are shutting and you are shutting them.”The use of ringing bells throughout is also charming, clever and exceptionally creative.

Musically the score, the playing and the singing, is a delight and often a delightful surprise. The tin whistle is magical and the reprise of traditional carols, sometimes without words that might adversely trigger contemporary audiences, is especially inspired.


The lighting design principally through the multitude of lanterns, hanging and dumped, still and swinging, dim and bright, is also exceptionally well integrated in to the show.


Central to the show is the transformation narrative - “what have I done ? lived without thought”, “but I cannot be past hope” and the pivot line “we are all made, but we all make in turn”.


Owen Teale is utterly captivating in his journey from grasping self-obsession (“I am a great man !”) to compassion, from covetous resentment to redemption. His obsession with debt, moneylending and gold and his refusal to take responsibility for the wider world leave him with no partner, no fire, no light and no love.


Anthony Harkin is especially magnetic as Marley when the character wears the heavy chains he forged in life. Andrew Coshan as nephew Fred and Bernard Curry as servant Bob also occupy their characters with great skill.


Debra Lawrence and Samantha Morley as the Ghosts Past and Present and Aisha Aidara as Little Fan are wonderful as the reflections of learning, insight, hard truths and they truly are “everywhere if you look”. The conception of the Future Ghosts as the empty outstretched hands is also brilliant.


Sarah Morrison superbly realises Belle especially in the later poignant and tender scenes when there is no turning back.


Equally central to this production is community and connection “excellent idea, we shall share”, which the production makes practically manifest in its financial support of local charities. “If this has no consequence, what does ?”


The entire talented cast, engaging with the audience, acting their parts, displaying their musical talents and, as a full ensemble both dancing up a storm and hilariously assembling a Christmas feast from all parts of the audience are all total uplifting. A superb night of theatre.


A Christmas Carol will be playing at Melbourne’s Comedy Theatre until 7th January 2024.

Image Supplied

bottom of page