Tom Maher
(3 Reviews)

A CHRISTMAS CAROL IS A GLORIOUS PRODUCTION FULL OF LAUGHTER, FANTASTIC MUSIC AND AN OUTRAGEOUS DOLLOP OF CHRISTMAS SPIRIT(S)!

I am a huge fan of A Christmas Carol, especially as my father used to read it to me around Christmas time each year when I was a child. I actually quite dislike reading Charles Dickens – I’m not certain whether that is because I studied Great Expectations at school (nothing seems to put you off a writer more than studying them at GCSE!) or because of my general dislike of the man himself. But A Christmas Carol is something else – witty, scary, heartfelt all within a few pages. It has become the archetypal redemption story, managing somehow to remain relevant more than 100 years after it was first published.

There have been many, many adaptations during that time – and it would be quite wrong for any review of A Christmas Carol not to mention the glorious Muppets version – all taking a slightly different approach, or adding a new layer. For example I found the BBC version with Guy Pearce, playing a Scrooge who was clearly neurodiverse a fascinating approach, but I also felt it did perhaps take away some of his own decision-making responsibility for his predicament.

So what would be the impact of making Scrooge a woman?

Gender switching roles has become common place and I always think it interesting how it can completely shift the interpretation of a role. We saw a recent production of Macbeth at the Globe in London, and King Duncan was actually Queen Duncan – somehow it did make the murder by Macbeth all the more horrific.

So I was really excited to see what impact a female Scrooge would have on the telling of the story. And I wasn’t disappointed! This is glorious production full of laughter, fantastic music and an outrageous dollop of Christmas Spirit(s)!

Apart from a female Scrooge, A Christmas Carol The Musical closely follows the story Dickens wrote, that of Evelina Scrooge, a miserly and cold-hearted businesswoman in 19th-century London. The narrative follows her dramatic transformation from a greedy loner to a generous and compassionate woman.

The story begins on Christmas Eve, with Scrooge showing disdain for the festive season and refusing to help those in need. She dismisses her cheerful nephew Fred’s invitation to Christmas dinner and rebuffs a group of men seeking charitable donations. At her counting house, she reluctantly grants her underpaid clerk, Bob Cratchit, a day off for Christmas.

That evening, Scrooge is visited by the ghost of her former business partner, Jacob Marley. Marley, condemned to wander the Earth in chains as punishment for his greed, warns Scrooge of a similar fate unless she changes her ways. Marley tells Scrooge that she will be visited by three spirits.

The first spirit, the Ghost of Christmas Past, shows Scrooge scenes from her own life, including her lonely childhood, a joyful Christmas party with her employer Fezziwig, and the end of her engagement. These memories evoke regret and sorrow in Scrooge.

The second spirit, the Ghost of Christmas Present, takes Scrooge to see the festive celebrations of others. She witnesses the Cratchit family’s modest but heartfelt Christmas, where she is struck by the poor health of Bob’s young son, Tiny Tim. Scrooge also sees Fred’s lively Christmas gathering, where she is mocked for her miserly ways but also pitied.

The third spirit, the Ghost of Christmas Yet to Come, presents a grim vision of Scrooge’s future. She sees the death of Tiny Tim and her own lonely, unmourned demise. Terrified, Scrooge vows to change her ways.

Scrooge awakens on Christmas morning as a changed woman. She becomes generous and kind, providing a feast for the Cratchits, increasing Bob’s wages, and embracing the Christmas spirit. Scrooge’s transformation brings joy to those around her, and she becomes a beloved figure in the community, keeping the spirit of Christmas alive all year.

Claire Moore’s (The Phantom of the Opera, Miss Saigon, Camelot, Les Miserables) Scrooge is a grumpy, mean old woman – but perhaps lacking in the fear factor of other productions. That said, for me this made her less of a caricature, and the overall arc of her story, particularly her redemption, felt all the more believable because of it. Moore certainly has a lot of fun with the role, dominating every scene as she strides back and forth across the stage, and delivering sharp lines and sour “ba humbug’s” with a real relish. Moore has a glorious voice, in particular as she pleads with the ghost of Christmas Future for help to become full of Christmas spirit towards the end of the show with an absolute powerhouse performance, drawing cheers from the audience last night.

Barry Keenan’s (Newsies, The White Hankerchief, Treasure Island) Marley sets the tone superbly, accompanied by raggedy ghosts and dragging huge chains which twist around his neck and he uses as a prop to ensnare and coerce Evelina to pay attention to the recollection of her past life. His manic hair and wild-eyed, menacing performance definitely gave the audience the shivers!  

Mari McGinlay (Lifeline, Greatest Days, Claus, Hairspray) plays a garish, shrieking and slightly crazy Ghost of Christmas past, dressed in a white pearlescent suit with streaming red hair, clearly thrilled at the chance to taunt Scrooge. There is a huge amount of energy in her performance, and she got a lot of laughs as she channelled Michael Aspel with a ‘This is your life’ moment!

James Hume (Kiss Me Kate, A Christmas Carol, The Phantom of the Opera) delivers a phenomenal performance as The Ghost of Christmas Present, appearing somewhere between fantastic drag queen and pantomime dame. He plays the role very much as the latter at first, and he takes every opportunity to play to the audience, yet Hume becomes more serious as the scene explores the many social injustices faced by the poor.  For me, this was definitely the stand out performance of the night.

Josie Benson (Mamma Mia, Sweeney Todd, Porgy & Bess) as the Ghost of Christmas Future brings a different feel to the production, leaning into the spooky and supernatural. Dressed in pure black, Benson’s performance creates an eerie feel that really reflects the sombre reality that Scrooge is facing. The entrance of black hooded monks during this scene and the stage floor engulfed in smoke really adds to the discomfort and coldness – and you could tell how effective this was by the stillness of the audience.

Alexander Evans (Bonnie and Clyde, The Sound of Music, Titanic), Matthew Jeans (High Society, White Christmas) and Chomba S. Taulo (Pretty Woman The Musical, The Book of Mormon) give strong supporting performances as Fezziwig, Bob Cratchitt and Fred respectively, and the whole ensemble deliver some superb set pieces, in particular during the party at Fezziwig’s, where the complexity of the choreography was stunning.

The score is fantastic – the perfect combination of showstoppers and more reflective pieces.  The choreography and costumes similarly promote each scene on stage.  The song during scenes with the Ghost of Christmas Present proclaiming “Good will to all men” especially stood out with the ensemble in glitzy bright red sequined costumes and sharp tap dance. 

The staging was simple but stunning, using what looked like reproductions of Dickens’ original manuscript to wall paper everything from lampposts to buildings and doors.  The stage curtain and general back drop is also in this style.   

This is a fabulous production which garnered huge applause from the audience. With no interval, it is a short 90 minutes and despite the fact that there are scary moments, A Christmas Carol The Musical is definitely suitable for tweens and teens. This is the perfect night out for anyone wanting to get into the Christmas Spirit!

WE SCORE A CHRISTMAS CAROL...

FABRIQUE BELGIQUE! ONLY FOOLS AND HORSES THE MUSICAL IS THEATRE AT ITS BEST - YOU'LL BE A PLONKER TO MISS IT!

I remember Only Fools and Horses as the staple of the BBC’s early evening Saturday night TV throughout my childhood and, as I drove to see Only Fools and Horses The Musical, I enjoyed a good dose of nostalgia recalling  favourite  storylines and comedic moments  with my elderly mother who was accompanying me.  Would there be a catastrophic chandelier dropping scene?  Would Del Boy fall unwittingly through an open bar hatch?  How faithful would it stay to the original TV show and its characters made iconic not just by  David Jason and Nicholas Lyndhurst but by an incredible ensemble cast?     

Only Fools and Horses The Musical, then, is a stage adaptation of that beloved sitcom Only Fools and Horses, which originally aired from 1981 to 2003. The story follows the Trotter family—Derek "Del Boy" Trotter, a charming but often hapless market trader, and his younger brother, Rodney, who shares in Del's dreams of getting rich quick. Set in 1980s London, the musical explores their misadventures,  and the ups and downs of their working-class lives.

Rather than developing new material, the musical, which premiered in 2019 in the West End, brings the iconic characters and comedic situations from the series to the stage, combining the plot lines of Rodney and Cassandra’s wedding along with Del Boy’s search for a partner of his own.

From the start, with the Only Fools and Horses/Hooky Street main theme accompanying a bustling market scene, it was clear that the show was going to stay faithful to the TV show.

Sam Lupton’s (Great Expectations, Wicked, This England) Del Boy is pitch perfect as the market-trading chancer with an unswerving and perhaps misguided belief of being sophisticated and that “This time next year we’ll be millionaires”.  He plays Del Boy to a tee, with fabulous comic timing;  his gorgeous Cockney accent delivering frequent out of place French phrases such as “pain au raisin as they say in Constantinople” and  quoting lines from 80s pop songs as though they were by great philosophers (all in an attempt to bolster his image as a sophisticate) had the entire audience roaring with laughter.  Sam’s boisterous and energetic portrayal of Del never wavered from anything but what I remember of Del in the TV show.   Sam also brings the softer side to the brash and confident character of Del Boy, for example as he talks in a poignant moment to his departed mother.  However, the audience is quickly snapped out of this melancholy moment when Gloria Acquaah-Harrison (winner of Mawa Monologue Slam 2022) as Mrs Obooko unexpectedly speaks from the darkness at the back of the room and gives Del the fright of his life.  

Alongside Sam, is Tom Major as Rodney, who is outstanding on his professional debut.  He well captures Rodney’s impressionable and naive nature, both looking up to his older brother Del but also argumentative with him.  Sam maintains Rodney’s lanky, gangly posture with slightly awkward mannerisms throughout.  Similar to Sam’s Del, Tom’s Rodney never left me wanting for the original TV show’s actor Nicholas Lyndhurst as Rodney.   

Making up the trio of residents at Del’s flat in Peckham, is Paul Whitehouse’s (The Fast Show, The Harry Enfield Televsion Show, David Copperfield, Gone Fishing) Grandad.  Again, the original character of Del and Rodney’s Grandad is faithfully portrayed.   Paul also plays a brief cameo as Uncle Albert which got the biggest cheer of the night - when he appeared sporting a beard in the style of Buster Merryfield who acted as Uncle Albert in the TV show from 1985 onwards.  And the expectant audience were indeed treated to at least one mention of something that happened “During the war”!

Georgina Hagen (Resident Director in Everybody’s Talking About Jamie, Disney100: The Concert, The Story of Tracy Beaker) plays Racquel.  She is first introduced with a solo of The Girl (by John Sullivan) and has an amazing voice.  Later in the show, the way she softly and subtly sings the melody backing to Lupton’s Del thoughtfully quoting the first few lines of Bill Wither’s Lovely Day before it breaks into full song, has you rooting for them as a couple – they have brilliant chemistry together on stage.

Lee VG (The Book Thief, A Christmas Carol, Camelot in Concert) plays Trigger and very much captures the naïve, slightly bewildered nature of the original TV show character, with the puzzled facial expressions and lines that made the character one of the most memorable.  Fans of the TV show will be pleased to know that Trigger’s broom gets a mention! 

For me, the character Boycie has one of the most distinctive and memorable sounding guffaws in British comedy, up there with Cybil Fawlty’s hysterical shrieking with laughter in Fawlty Towers or H Rimmer’s taunting smirks on Red Dwarf.  It is Boycie’s signature sound, and Craig Berry (The Bodyguard - UK Tour, Mamma Mia, Cats) does not disappoint in this role.  Craig exaggerates Boycie’s style of laughter, capturing the almost self congratulatory thought at his own superiority to maximum and repeated effect.  The more it was overdone, the more the audience loved it. 

Nicola Munns (The Liver Birds Flying Home, Don Giovanni, The Snow Queen) plays both Marlene and Cassandra, and effortlessly captures the style and mannerisms of both.  True to the original TV show’s character, Munns plays Cassandra in a considered style, showing Cassandra to be from a less working class background than Rodney.  In contrast, Munns plays Marlene with the vigour and loud mouthed brashness she is known for.

Other shout out performances of the night came from Bradley John (Pandora’s Box, The Lazarus Project, Great Expectations) as Denzil and Peter Watts (The Threepenny Opera, Assassins, Twelfth Night) as Mickey Pearce/Danny Driscoll.

The set used was cleverly simple - a pair of revolving panels either side of a double door allowing the show to move seamlessly and quickly between settings such as the Market, Del’s flat in Peckham and the Nag’s Head plus other less used settings such as the restaurant where Del and Racquel first dine, Waterloo station and the fertility clinic.  A display screen above the physical set aided the visuals for each location.  And of course, it wouldn’t be Only Fools and Horses without the famous yellow Robin Reliant making an appearance - probably the second biggest cheer of the night!  Costumes were faithful to the era of original show, such as with Del Boy wearing his sheepskin coat, Rodney wearing loose baggy suits and Nicola Munn’s Marlene sporting outfits with typically large “power shoulders”. 

A live band backs the musical numbers and there is a real mix from the titular Only Fools and Horses / Hooky Street theme during opening scenes in the market place and later on, through comedic numbers such as Mange Tout and The Tadpole Song (along with accompanying visuals on the screen above the stage) and also well known 80’s songs Lovely Day and Holding Back the Years.  Throughout the show, such as during the quick set changes, snippets of the Only Fools and Horses main theme is played to good effect, really feeling like it helped embed the feeling of the original show.  The show ended with the audience clapping along the Only Fools and Horses / Hooky Street theme as  the cast took their bows.  The vocals from all the cast are superb however for me, Georgina Hagen’s and Gloria Acquaah-Harrison’s solos during the show are absolutely standout.  

Whilst the show is clearly a massive nostalgia hit for any fan of the original tv show, if nothing else this show demonstrates how accessible and timeless Only Fools and Horses really is. For example, there were plenty of teenage children in the audience who were enjoying the show without the need for any nostalgia.  This is a show full of fabulous songs, brilliant acting and laugh out loud moments aplenty that is suitable for any age, and a perfect way to spend a cold Autumn night!

WE SCORE ONLY FOOLS & HORSES THE MUSICAL..

DISNEY'S ALADDIN IS UTTERLY CAPTIVATING, TRULY MAGICAL AND A JOY FOR ALL THE FAMILY!

I have always been drawn to the story of Aladdin. Well, not just Aladdin but all the Arabian night/Persiana fables. I grew up on the old stop-animation films of Sinbad, equally fascinated by and terrified of their many-limbed monsters wielding swords. For me there was always something so much more exotic, unworldly even than their Greek myth counterparts, which I found magical. For me, Disney’s animated film didn’t quite capture this, although the phenomenal score and Robin William’s outstanding performance were more than ample recompense. But as I trooped into Manchester’s Palace Theatre with my youngest son, I really hoped that the stage production of Disney’s Aladdin would somehow managed to capture that elusive spirit.

And I was not disappointed. A brilliant cast is supported by thoughtful, inventive and at times ingenious staging, creating a fabulous, highly polished production that uses every tool available to bring a whole new world of colour, pizazz and energy to the stage.

The story follows the familiar 1992 film fairly closely. Set in the bustling city of Agrabah, our eponymous hero Aladdin embarks on a journey of self-discovery, love, and adventure. We meet him as a street-smart youth, struggling to survive, but with dreams of a better life. His world changes when he encounters Princess Jasmine, who is determined to find freedom beyond the restrictive palace walls.

A twist of fate leads Aladdin to the mystical Cave of Wonders, where he discovers a magical lamp and unleashes the powerful, larger-than-life Genie. With the Genie's help, Aladdin transforms into Prince Ali, hoping to win Jasmine's heart and outwit the sinister and power-hungry Jafar, the Sultan's advisor with his own nefarious ambitions.

While the core plot remains faithful to the original 1992 animated film, this stage adaptation doesn’t shy away from making changes. For example Aladdin and Princess Jasmine are both more rounded, with dedicated time spent on their character development. Aladdin’s transformation to Prince Ali is driven by his love for Jasmine, and his need to be of the ‘right class’ rather than just material wealth. Whilst Jasmine is still a frustrated princess, she is also a more a strong, independent woman who actively seeks to break free from societal constraints and find her own path.

There are new compositions from Alan Menken (Little Shop of Horrors, Hercules) Howard Ashman, (The little Mermaid, Beauty and the Beast) and Tim Rice (Joseph and his Amazing Technicolour Dreamcoat, The Lion King) such as "Proud of Your Boy" and "High Adventure," which support this character development as well as expanding the story. And finally there are new characters like Babkak, Omar and Kassim, who are Aladdin’s loyal friends, replacing Abu, Aladdin's monkey companion from the film.

Gavin Adams (professional debut) is wonderful as Aladdin, perfectly capturing that spirit of downtrodden optimism, that sense of winging it through life. He is bold, shy, confident and uncertain all at once, and it makes him and incredibly likeable hero, and no more so than when larking around in the marketplace with Babkak, performed by Nelson Bettencourt (Cinderella, Beauty and the Beast), Omar, performed by Adam Taylor (The Kit Kat Club, Everybody’s talking about Jamie) and Kassim, performed by Nay-Nay (Hairspray, Snow White).

Adams’ performance of ‘Proud of your boy’, a ballad early in the first half, was very moving. This is one of the quieter, more moving moments of the show, focusing on Aladdin’s desire to be better, to improve his lot in life. It was performed with emotion and sincerity, but also demonstrated Adams’ fantastic vocal capability.  

By contrast, Desmonda Cathabel  (Miss Saigon, From Here to Eternity) Princess Jasmine is spiky, feisty and focused, yet she plays her with a certain guilelessness that again makes her very engaging. Together on stage, they make a playful couple, their chemistry is immediately evident and I particularly enjoyed watching their easy banter in their first meeting.

Yeukayi Ushe (The Lion King, Kinky Boots) as the Genie perhaps has the most difficult task, filling the boots of the beloved Robin Williams. Creating a character who is both omnipotent and slightly goofy is no easy task. Ushe takes the Genie in a slightly different direction, giving us a Genie I can best describe as “smokin’”. Think Jim Carrey’s The Mask, but more so. Trust me, this works better than I would ever have imagined. Combined with the Big Band style music, he is simply dripping with cool in a performance that is simply outstanding.  His highlight must be ‘Friend Like Me’, during which he sang whilst tackling incredibly complex choreography, all without missing a beat. The audience couldn’t help but clap along and Ushe’s performance for me was the standout of the evening.

Adam Strong (Rock of Ages, We Will Rock You) as Jafar and Angelo Paragoso (Wonka, Raging Grace) as Iago (Jafar’s parrot sidekick in the animated film, here reimagined as a human character) make a gloriously villainous twosome. They scheme and stalk and machinate against Jo Servi’s (Dreamgirls, Peter Pan) foolish Sultan with a vindictive pleasure that oozes malevolence. Both actors take every chance to go full pantomime villain - “I think it might be time for some evil laughter…” - yet at times Jafar is genuinely scary, bringing just the right level of peril to the production. 

The main cast are brilliantly supported by the ensemble, who deliver the big set pieces such as the opening Arabian Nights with precision and flair. The choreography throughout is inventive and clearly complex to perform, notably the sequence in the Cave of Wonders and also the numerous sword fights and chase scenes, yet last night’s performance was flawless.

The staging of Disney's Aladdin is a standout feature of this production. The depth of thought and financial investment that has been made to create something enchanting is evident. Costumes are full of colour yet still intricate, rich with detail that complements and enhances the staging. The intricacies are well highlighted by clever lighting and at times the whole stage seems to glisten under the Arabian sunlight. Elaborate set designs vividly recreate the scale of Agrabah's bustling streets and the grandeur of the opulent palace. For me it was the Cave of Wonders set design that impressed. It is truly dazzling, with an abundance of jewels and treasure on display which must have taken the production teams weeks if not months to craft.

The highlight, though, is the use of innovative flying carpet technology during "A Whole New World," which creates the illusion of Aladdin and Jasmine soaring through the night sky. The effect, combined with a starry backdrop, is breathtaking. This, combined with heartfelt, genuine performances from both leads, is definitely a ‘wow’ moment of the productions and we heard lots of audible gasps of awe from the younger members of the audience when the carpet takes off!

All in all this is a fantastic night out for all ages – certainly the audience agreed, with many cheers, much laughter and a zinging atmosphere all the way through the evening. There were several young children near us, all of whom were utterly captivated by what they were watching on stage.  Lovers of the original Disney animated film will enjoy seeing all their favourites live, whilst people new to the story will get swept up in the magic and laughter of this inventive and polished production.

WE SCORE DISNEY'S ALADDIN...



Watch our "In Conversation with Adam Strong" video discussing the show!