A Christmas Carol: The Musical – The Lowry

When the December review list lands in my inbox I have to confess to my spirits lowering, the plethora of pantomimes do nothing to lift my festive mood and there are always a significant number of variations on ‘A Christmas Carol’ on offer. However, having battled the seasonal traffic to get to The Lowry my Scrooge like mood was quickly lifted by this delightful musical version of the old redemption story, sending me home smiling and full of seasonal joy.

Although this production is being staged in the beautifully proportioned 420 seat Quays Theatre at the Lowry, it is the estimable duo of William Whelton and Joseph Houston from Hope Mill Theatre that are the creative powerhouses behind it. Following a decade of success showcasing musical revivals from their Ancoats home, they have crossed the Irwell into Salford to allow themselves a (literally) bigger stage to display their considerable talents. For this initial venture they sensibly chose a classic Christmas title that will attract the more casual festive theatre goer, but in typical Hope Mill style have added their own particular twist to the time honoured tale.

We are introduced to Evalina Scrooge (Claire Moore); tight fisted, miserly and eschewing all Christmas cheer and warmth, until the visit of her deceased partner Marley (Barry Keenan) and three ghostly apparitions turn her into a latter day Mrs Santa Claus at the conclusion. The decision to change the main character into a woman has inevitably provoked the tiresome ‘anti woke’ brigade to start banging their keyboards in frustration, but we need not worry about such irrelevant dinosaurs who never leave the house, as the decision pays off handsomely. Weaving in a back story of family debt – a subtle homage to the original authors own family life, lost love and childlessness gives Scrooge a much more realistic motivation as to her later character, it affords real pathos to develop in certain scenes to the extent that this reviewer became sympathetic to her well before the transformative conclusion. Houston employs a set that acknowledged the literary heritage of the piece, pages from the original novel acting as wallpaper and canopy throughout, over which video projections (Alessandro Uragallo) move us through the scenes of Scrooge’s life. The grey earlier passages are juxtaposed beautifully against the colour present in her earlier life, signifying the changes in character wrought by time and events, only a certain bareness in the set dressing prevents this from feeling genuinely immersive and authentic.

Whilst the characterisation and book are interesting, what lifts this production is the musicality and choreography. Whelton has utilised the much larger canvas the Quays stage affords him to the fullest effect, the young ensemble are afforded space to display their considerable skills and their training at some of our best drama schools being displayed to dazzling effect, with the slick moves, flips and precise choreography apparent throughout. All the large scale musical numbers worked well, particularly Marley’s appearance (Link By Link), Fezziwig’s Annual Christmas Ball and the appearance of The Ghost Of Christmas Present (Abundance and Charity) which gave the opportunity for James Hume to interject Mother Goose pantomime stylings into proceedings to hilarious effect. Indeed, all performances are uniformly excellent with particular credit to the trio of Hume, Josie Benson and Mari McGinlay as the ghosts channelling both humour and eccentricity into their respective portrayals. Moore as Scrooge felt slightly sidelined in the earlier scenes but a stunning conclusion (Yesterday, Tomorrow and Today) and finale demonstrated her vocal abilities and audience connection fully.

Whelton is assisted in the stunning musicality by a cracking eight-piece band led by Joseph Clayton secreted under the stage and by a simply brilliant score from the legendary Alan Menken. This multiple EGOT winner’s score is superb, bringing his trademark Disney style to proceedings and whilst my own Christmas tastes tend to be based around the darkness of the original Dickens 1843 novella and the ghost stories of MR James, there is no denying that the layer of sweet confection Menken employs perfectly suits the mood of the audience this evening.

A perfect seasonal treat suitable for all the family.

Playing until 5th January 2025, https://thelowry.com/whats-on/118//a-christmas-carol-the-musical

Reviewer: Paul Wilcox

Reviewed: 12th December 2024

North West End UK Rating: