You know the story: a workaholic who has become bitter and moody over time is visited by four ghosts (yes, four – his dead business partner, and then the ghosts of Christmas past, present and yet to come), sees the errors of his ways, and resolves to celebrate Christmas after all. This version of the story is set in Sheffield, though interestingly, its identity is not found through replacing various London street names and landmarks in Dickens’ novella with Sheffield ones, but rather by the inclusion of the Sheffield Carols. These were written by local people in South Yorkshire and North Derbyshire in the late eighteenth and nineteenth centuries. As the show’s programme puts it: “There are no rehearsals, no printed programmes, and no distinction between performer and audience. Everyone joins in, whether they know all the words or not.” The Sheffield Carols were, and still are, sung in pubs rather than churches – they are more joyous than the carols found in hymn books, and lend themselves more to the sort of singing one might find at Sheffield Wednesday or Sheffield United than at Sheffield Cathedral.
Their inclusion, sometimes over spoken dialogue, replicates a seasonal pub atmosphere, though even if I insist it doesn’t make for great theatre, because there are inevitably lines that get missed. Essentially, several people were talking and singing at once and I wasn’t quite able to catch a complete sentence or lyric from anyone. And unlike a conversation amongst friends at the pub, it’s not like you can ask someone to repeat what they just said, or lean in to be able to hear more clearly. This was only amplified when a Sheffield Carol was sung unencumbered by dialogue – when the cast’s harmonies are allowed to shine, they sound glorious. At other times, the sounds of musical instruments being replicated by human voices called to my mind the beatboxing of Oxford University’s various student a cappella groups, who perform at the Edinburgh Fringe.
For those like me who don’t re-read A Christmas Carol every year, it was good to be reminded of the details of the plot – the salient points are all there in a version that has been relocated but is nonetheless faithful to the source material. Ian Midlane’s Scrooge fits the stereotype of gruff Yorkshiremen being more than a tad stingy when it comes to charitable donations, insisting that anyone who wants more money can go out and earn it, because that’s what he does (Norman Tebbit and bicycles came to my mind, for readers old enough to remember). The turnaround (you already knew there was a change of heart, right?) is gradual, with the various scenarios laid before him breaking his resolve piece by piece. Resistance is futile, however familiar one may be with the story: there is something quite heartwarming about Scrooge’s own family and that of his trusty clerk Bob Cratchit (an engaging Ryan O’Donnell) marvel at the transformation of personality and outlook.
Mel Lowe, in the role of Jack, serves as narrator, though I didn’t feel one was strictly necessary – for instance, descriptions of Scrooge’s state at any given time was more than sufficiently evident in Midlane’s characterisation. The Crucible’s thrust stage was utilised well in this inventive production, which had dinner tables and beds rising and falling on and off-stage. The costumes were suitably period, and the illusionary effects, especially that of the initial appearance of Marley (Anthony Ofoegbu) were impressive. A solid, wholesome and hearty production.
Review by Chris Omaweng
“I will honour Christmas in my heart, and try to keep it all the year.”
On a bitter Christmas Eve, the misery Ebenezer Scrooge shuns festive cheer and human kindness, content in his cold, solitary world.
But when the ghost of his former partner warns of a dreadful fate, Scrooge is thrust into a journey through his past, present and future. As the spirits reveal the consequences of his ways, he must decide whether to embrace change or be doomed to loneliness forever.
Featuring the Sheffield Carols, Charles Dickens’ timeless classic shines with redemption, heart and holiday spirit.
CAST in alphabetical order
Fred / Edward – Aaron Anthony
Mrs Cratchit / Mrs Fezziwig / Laundress / Mama – Kimberly Blake
Isobel / Emily / Charwoman / Mrs Hardaker – Lucy Brindle
Ghost of Christmas Past / Topper / Mr Grace
Little Fan / Martha / Rebecca / Mrs Wilton – Kiah Lindsay
Jack – Mel Lowe
Scrooge – Ian Midlane
Bob Cratchit / Ebenezer – Ryan O’Donnell
Marley / George / Understudy Scrooge – Anthony Ofoegbu
Ghost of Christmas Present / Mr Fezziwig / Old Joe – Adam Price
Swing / Music Captain – Simon Whitaker
Swing – Karen Wilkinson
CREATIVE TEAM
Writer – Charles Dickens
Adaptor – Aisha Khan
Director – Elin Schofield
Associate Director – Alex Pritchett
Co-Designers – Rosie Revitt and Kevin Jenkins
Movement Director and Choreographer – Aline David
Lighting Designer – Richard Howell
Composer and Arranger – Matthew Malone
Sound Designer – Gareth Fry
Music Supervisor – Natalie Pound
Casting Director – Juliet Horsley CDG
Illusion Designer – John Bulleid
Associate Illusion Designer – Sam Lupton
Wigs, Hair and Make-Up Design – Campbell Young Associates
Assistant Director – Verity Richards
Wigs, Hair and Make-Up Manager – Helen Russell
Vocal Coach – Timothy Peters
A CHRISTMAS CAROL
Crucible Theatre Sheffield
29 November 2025 to 10 January 2026
