The timeless story of Ebenezer Scrooge, whose journey from miser to benefactor provides a very apt vehicle for a seasonal production.

Presentation

This is a wide, yet shallow playing area. For the opening scene the main area was reasonably empty - flanked by a winter backdrop; a flat either side of the stage depicted doorways; these were then cleverly opened up to become Scrooge's office and bedroom. His office was appropriately cramped, and although movement could only be limited here, the atmosphere of 'scrimping' was appropriately set. Dressings included the high desk and coal fire. Scrooge's bedroom was effectively depicted by a curtained bed, fire place and the large portrait of Marley. The construction of these mini sets resulted in swift and efficient scene changes. For the journeys back and forward in time, curved brick walls were utilised, and then opened up to the appropriate setting. Although this resulted in a lovely sense of surprise as we witnessed the new scene, the brick walls were rather solid and straight - resulting in a loss of the sense of magic here on occasions.

The Cratchit family home was established simply through a table and chairs ­although this was set too far back and the intimacy of the scene a little lost; Fred's more opulent home was very attractively set through panelled flats and wall lights. Very attractive stalls were added during Christmas Eve.

Stage management was efficient.

Lighting

This was an excellent aspect of the production. You very cleverly set the period and setting through mellow, yet warm gels that provided an atmosphere of gas lighting. The use of shade and light on stage also helped to sustain the atmosphere that was Victorian England. Lanterns and candles were also effective in doing this. There was appropriate contrast between the brightness of Fred's home and that of Tiny Tim; Scrooge's physical and emotional journey was highlighted through near darkness at times as well as appropriate use of dramatic effect such as strobe. Use of white and red lighting in Scrooge's bedroom helped to communicate his state of mind and the warm lighting at the end of the production underlined the sense of hope and forgiveness. The spot on Fred highlighted his role as narrator.

Sound/FX

Musical FX were often used very effectively to underscore dramatic action; other taped FX - including chains and wind - were well timed. Smoke contributed to the entrances and exits of the varying ghosts and the echo added to amplification was also effective.

The flying of Scrooge was very well executed.

Costume

Authentically Dickensian, again there was attention to detail, firmly setting the period of the production. Crinoline-style dresses, bonnets, capes and shawls, dressed appropriately with silk and lace set the tone for the ladies; tail and knee-length coats, cravats, waistcoats for the men. The working classes were suitably shabby and the Cratchit family's simple attire contrasted with the more opulent folk at Fred's dinner. The Ghost of Christmas Past's almost bride-like costume was striking, contrasting with the macabre Black of the final Spirit. Most striking was the slightly sinister Christmas outfit of the Ghost of the present - this suited his playing very well.

Hair and make-up was in keeping - although the men's make-up was a little pale under some of the lighting.

Musical Direction

The most striking aspect of the musical direction and indeed execution was the very strong sense of integration between acting and score. The masterful orchestra - and I must comment particularly on the very lovely reed work throughout - complemented the action so very sensitively, completely capturing the tone and varying moods of the production. Accompaniment never dominated, yet always helped to maintain the pace and energy of the show in terms of pace. Excellent use of underscoring throughout

Singing was very competent as well - again, notably unforced and reliant on very good breath control, so that the varying numbers were communicated with clarity and appropriate emotion - such as Close Were We. Diction on the whole was good - well done for mastering some of those tricky lyrics, and the mood of the varying numbers understood and communicated very well indeed. I particularly enjoyed Christmas Eve and the well-shaped build in Yes and No. Ensemble singing was sensitive and again there was strong emphasis on the communication of mood and story throughout - very well done.

Choreography

Both period and mood had been clearly understood, so that polka and waltz were executed with a sense of enjoyment and precision. The dance sequence during Scrooge's spiritual journey was dramatically effective.

Direction

I was looking forward to a show that was going to set me in the Christmas spirit - and I wasn't disappointed! From the opening number, you established a very strong sense of enjoyment, team work and again a clear understanding of the mood and message of the piece - your focus very much to communicate rather than just perform. The communication of both mood and emotion was also enhanced by the balance of play here - no one player dominated; actors worked very well together in both dialogue and song.

Casting was very good - your lead, in particular, portraying a clear personification of the infamous protagonist. Characterisation was both intelligent and also appropriately understated on the whole - emotion was never over sentimentalised, and the requisite Dickensian goodness firmly established. In contrast the cameos of the lower class were beautifully portrayed, clearly showing the tougher side to Victorian England.

This was a large cast; and they moved swiftly and efficiently between scenes, On occasions the stage looked cramped, and in the larger numbers blocking was a little muddled. However, there were also many lovely examples of striking tableaus and the use of freezes was excellent throughout.

Dialogue was very secure from every player and delivered very well The formality of the period was captured, yet never over laboured, and again the message of the piece highlighted appropriately.

Exits and entrances of the spirits were suitably marked and realised - although I feel the final ghost should have taken us by surprise, using a different route!

Very well done.

Acting

Scrooge

It is always difficult to take on a part that is so well-known, but you rose to the challenge on many levels. You communicated the misanthropic miser with clarity and understanding, yet never overdid these traits, which can so easily become merely aggravating. Your physical presence and your masterful delivery of dialogue showed a bitter, unhappy man, bewildered and tormented by his past and prospective future on the visits of the spirits. Excellent stance and facial reaction, and a very touching portrayal of your regret. Good singing vocals too, coping with that very tricky tempo of your first number! Your reconciliation scene with Belle made me cry. Very well done.

Fred

Lovely mellow voice here, in both word and song, you took on the role of narrator and nephew with a wonderful sense of ease and confidence. You provided just the right antidote to Scrooge - but managed to remain convincing rather than corny! Excellent rapport with your fellow players - good!

Belle

Another appropriately understated performance that communicated Belle's goodness with the requisite Dickensian clarity. Again ease and confidence in delivery of dialogue, and such an unforced singing vocals so that the essence of this character was never clouded. Lovely rapport with Scrooge.

Marley

Suitably menacing, utilising a strong and energetic vocal attack! Great, dramatic entrance.

Mr and Mrs Fezziwig

You worked so well together, bringing some much-needed light relief to proceedings! Great energy here and some really good caricature acting in both voice and face that suited these roles so well.

Fred's relatives

Sorry to write about you all together, but the comments would be so similar! This is indicative of the fact that there was very good teamwork here, as you communicated the fun and bustle of the festive celebrations.! Excellent rendition of Yes and No­ - there was a real sense of family here - and secure delivery and cueing from every player.

Ghost of Christmas Past

Very good concentration, you spoke and moved with purpose, directing Scrooge through his past. At times I wondered if you were a little too genial, and you adopted a few-awkward positions on stage - but I think the wall flats contributed to this. Good use of gesture.

Ghost of Christmas Present

Suitably eccentric in both physical presentation and delivery, you led Scrooge with authority and reacted convincingly to his reactions.

Ghost of Christmas Future

Very menacing in your black attire, your focus established this mute character with conviction.

Excellent concentration from Bob in the early scenes when he says little and a very good bond with your wife. A little too quiet in some delivery, but your contributed to the moving tableau after Tiny Tim's death. Good support from your wife and family - the latter were extremely clear and focussed throughout. Special mention to Martha's lovely solos and the wonderful moment of Tiny Tim on Scrooge's shoulders!

Young Scrooge

In this small part, you so very clearly communicated the transition of your love from Belle to money. Lovely rendition of Close Were We.

Old Joe/Charwoman/Laundress/Undertaker

Fabulous teamwork here, as you created these wonderful caricatures of the Dickensian lower class. Great vocal attack from Old Joe - indeed you all spoke and reacted with the right combination of energy and humour.

The rest of the cast

You all contributed so well to the success of this production, in terms of your commitment to delivery, disciplined singing vocals and excellent concentration.

Thank you so very much for such an enjoyable production - much appreciated by your audience.

Rebecca Thompson