Programme Note #1: A Christmas Carol
NS wrote: “ Welcome! I’m absolutely delighted to be able to present this gorgeous, intelligent, and incredibly heart-warming production of one of the most loved stories ever written.
This socially-conscious adaptation puts Charles Dickens and his ambitions in the foreground along with the influential 1843 parliamentary report on the condition of children in the mines and manufacturers. Dickens planning to pen an angry rport on the subject of children in the workplace is encouraged by John Forster [literary advisor and friend] to write something bigger, a story, something that will ‘echo down the ages’.
This version by David Edgar premiered in 2017, when millions of people were trusting in foodbank donations to furnish their tables, and the increasing levels of homelessness haunted city streets. The current cost of living crisis has made economic inequality and poverty an even more pressing reality. A story that will echo down the ages indeed.
This is my directorial debut with Wick Theatre Company, and I have been blessed with a team of 25 super adult actors and 12 wonderfully enthusiastic, talented youth actors.
I have to mention some brilliant minds. Firstly, my Assistant Director, Charlotte Atkinson, an angel, so supportive, pro-active, precise, persistent, consistent, note-taker, coffee fueller, lemon cake maker and, well, an incredible human being – thank you so much. Also, to Liz Ryder-Weldon our Musical Director, she has the patience of a saint, such a wonderful musical talent; arranging vocals and composing utterly gorgeous score. Thank you. Also, special thanks to Lindsay Midali, amazing wardrobe mistress – truly an enormous task, but with the greatest ‘can do’ attitude, fuelled by thread, fabric, latte and a great sense of humour. And, to all my wonderful cast and crew, thank you for getting under the skin of my vision – for contributing, collaborating, sharing and believing.
Review #1:
Publication: Brighton Source
Publication Data: December 21 2022 issue – on-line
Reviewer: Mike Aiken
Text Header: A Christmas Carol Review
Text: Content
Why go to London for Christmas theatre when you can go to Southwick? No kidding! You might think local drama is am-dram sprinkled with polite applause and a chance to see your daughter, son or mates on stage. Right? Wrong! Very wrong.
The Wick Theatre Company, which performed this adaption of Charles Dickens’ classic A Christmas Carol at the Barn Theatre, combined high-class acting, subtle choreography and minimum props backed up by precision mood lighting and sounds. It also brought this short story, first published in 1843, right into contemporary debates about poverty, health and class conflict.
As ace theatre reviewer Strat Mastoris helpfully pointed out to me during the interval, this dramatisation of the story draws on David Edgar’s 2017 edgy political interpretation of the narrative.
Over the years people have had a poke at Dickens’ work for its sentimentality. That is certainly true in places. On the other hand, here is a writer who – 180 years ago – was exploring the injustices of poverty, poor housing, food shortages, and child labour in the workplace. As an activist, he contributed time and money to social causes and reforms yet declined to take a seat in parliament. He carried on writing until his death in 1870.
The story of A Christmas Carol, which reveals the poverty facing a family at Christmas and throughout the year, remains as relevant today as in the 1840s. It’s all bang on message.
As for Christmas, our Scrooge trots out his catchphrase: “bah humbug”. “Thank God they’re not thinking of widening the franchise” and “Don’t give beggars money they will only spend it on drink.” He knows which side he’s on.
Yet, the three ghosts that now visit our evil Scrooge (Christmas past, present and future) convincingly take us from social realism into a transcendental realm. By this stage our anti-hero is definitely spooked. “Lead on, lead on, the night is waning fast!” He’s not talking about “bah humbug” by the end. The redemption of Scrooge into a nice guy, takes us into that (near) happy-ever-after world of sentimentality.
At this stage, a not yet born Brecht might be cheekily hoisting a ‘happy ending’ sign for the audience. Nevertheless, there’s no doubt that Dickens’ fantastical Christmas tale still grips us. And it’s not hard to imagine plenty of unredeemed Scrooges standing in the next election.
This was Nettie Sheridan’s triumphant directorial debut for the company, accompanied by Charlotte Atkinson, and with Liz Ryder Waldon as musical director. It must have been a feat to keep track of 25 adult actors and 12 young people in the cast throughout the performance. Meanwhile, the set design, lighting, and musical direction teams set themselves the highest standards in complementing the mood and action on stage.
As always, The Barn Theatre is a welcoming and friendly venue with a decent bar. Despite a train strike and bitter winds blowing off the harbour this was another full house for the Wick Theatre Company. Get there for the next show!
Review #2:
Publication: NODA
Publication Data: December 17 2022
Reviewer: Jose Harrison
Text Header: A Christmas Carol Review
Text: Content
FRONT OF HOUSE. I received a really warm welcome, provided with a programme, and shown to an excellent seat which had been reserved for me. This society put on a really good production with all the right ingredient for family entertainment. This particular version was new to me opening with Charles Dickens, played by Guy Steddon, John Forster, played by Dan Dryer. They are planning how to get the subject of Mr Scrooges bad temper explained, caused by his sad upbringing.
THE PRODUCTION. This was an exceptionally well directed and choreographed production. The staging consisted of an outstanding ‘back drops’ giving an impression of fire, a simple box set onto which was wheeled an all important bed with curtains hanging all round it, a table with some chairs and various other moveable objects all helping to transport the audience from one location to another.
THE CAST. Bob Ryder was outstanding as the old miser Mr Scrooge, Tim Ingram and Zoe Edden made a delightful couple as Mr and Mrs Fezziwig and Julian Batstone as Bob Cratchit was very convincing being well supported by his wife played by Anna Steddon and their great group of youngsters, lead by Tiny Tim , Fraser Thompson. Nick Roughton was great as Old Marley but perhaps the most important parts were played by Diane Robson and Susanne Crosby as the Ghosts of Past, Present and Future. In fact there wasn’t a weak link in the whole show. The most remarkable thing about this cast was the number of people playing between 3 and 5 different parts with never a prompt.
COSTUMES AND MAKEUP. All the costumes and makeup were excellent being very varied and exceedingly appropriate. I particularly loved the ghost’s outfits. I was very impressed with the number of fast changes involved.
SOUND, LIGHTING AND CHOREOGRAPHY. Every word could be heard clearly and the sound effects were on time and the lighting was good, adding atmosphere to the individual scenes. I thought their choice of songs was excellent with plenty of variety and the various routines were obviously well rehearsed and very watchable.
Thank you so much for a great evening’s entertainment.
Review #1:
Publication: Brighton Source
Publication Data: December 21 2022 – on line
Reviewer: Mike Aitken
Text Header: A Christmas Carol Review
Text: Content
Why go to London for Christmas theatre when you can go to Southwick? No kidding! You might think local drama is am-dram sprinkled with polite applause and a chance to see your daughter, son or mates on stage. Right? Wrong! Very wrong.
The Wick Theatre Company, which performed this adaption of Charles Dickens’ classic A Christmas Carol at the Barn Theatre, combined high-class acting, subtle choreography and minimum props backed up by precision mood lighting and sounds. It also brought this short story, first published in 1843, right into contemporary debates about poverty, health and class conflict.
As ace theatre reviewer Strat Mastoris helpfully pointed out to me during the interval, this dramatisation of the story draws on David Edgar’s 2017 edgy political interpretation of the narrative.
Over the years people have had a poke at Dickens’ work for its sentimentality. That is certainly true in places. On the other hand, here is a writer who – 180 years ago – was exploring the injustices of poverty, poor housing, food shortages, and child labour in the workplace. As an activist, he contributed time and money to social causes and reforms yet declined to take a seat in parliament. He carried on writing until his death in 1870.
The story of A Christmas Carol, which reveals the poverty facing a family at Christmas and throughout the year, remains as relevant today as in the 1840s. It’s all bang on message.
As for Christmas, our Scrooge trots out his catchphrase: “bah humbug”. “Thank God they’re not thinking of widening the franchise” and “Don’t give beggars money they will only spend it on drink.” He knows which side he’s on.
Yet, the three ghosts that now visit our evil Scrooge (Christmas past, present and future) convincingly take us from social realism into a transcendental realm. By this stage our anti-hero is definitely spooked. “Lead on, lead on, the night is waning fast!” He’s not talking about “bah humbug” by the end. The redemption of Scrooge into a nice guy, takes us into that (near) happy-ever-after world of sentimentality.
At this stage, a not yet born Brecht might be cheekily hoisting a ‘happy ending’ sign for the audience. Nevertheless, there’s no doubt that Dickens’ fantastical Christmas tale still grips us. And it’s not hard to imagine plenty of unredeemed Scrooges standing in the next election.
This was Nettie Sheridan’s triumphant directorial debut for the company, accompanied by Charlotte Atkinson, and with Liz Ryder Waldon as musical director. It must have been a feat to keep track of 25 adult actors and 12 young people in the cast throughout the performance. Meanwhile, the set design, lighting, and musical direction teams set themselves the highest standards in complementing the mood and action on stage.
As always, The Barn Theatre is a welcoming and friendly venue with a decent bar. Despite a train strike and bitter winds blowing off the harbour this was another full house for the Wick Theatre Company. Get there for the next show!
