Review: A Christmas Carol: A Ghost Story – Alexandra Palace Theatre

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After a successful 2023 run, the Ghosts of Christmas return to Alexandra Palace. A classic retelling of Ebenezer Scrooge’s story, haunted by his business partner’s ghost. To try and save himself from a suffering afterlife, he must meet the three Ghosts of Christmas as they show him the misery his selfishness causes and threatens to cause. Instead, he must learn, in the Christmas spirit, to embrace kindness and community. So writes Charlotte D’Angelo for theQR.co.uk

Humbug! A new man is formed.

Matthew Cottle as Scrooge is fantastic: perfectly glum, cruel, and obsessed with his money. What stands out in his characterisation is that the story really unveils the emotional journey Scrooge takes. From his partner’s death, to ghost visits, memory, and visions of the future: Scrooge truly changes. Not a sudden change of heart in the final scene, but a realistic slow realisation and change in character. Adam Penford’s direction lends Cottle to follow the events the spirits show him, often physically mirroring the actions of his younger self. His immersion into the memories works to explain his commitment to change. His ending generosity finds the audience touched and empathetic to writer Mark Gatiss’ well-developed character arc.

Marley is Alive?

A very close interpretation of the original story, the main alteration from its origin is that the play opens with Marley alive. Him and Scrooge sit in their office, laughing at even the idea of generosity. Having us see Marley’s death is a great way to make the production more suited to tourists or children, who may not know the original story well and could benefit from the visual memory. Actor Neil Morrissey plays a wicked Marley, but struggles to portray a horrifying ghost. He is unaided by the unblended white face paint and supposedly imprisoning large chains that move in silence and ease.

Practically Shining

The true stars of the evening are the practical effects. From a simple snowball toss that explodes, illusions designer John Bulleid builds the Christmas magic. Slightly undermining it are the projections that come along. Marley appears as a projected ghost before a convenient blackout brings along actor Neil Morrissey appearing in chains. Projected scenic images above the stage sometimes succeed in building a mysterious graveyard, but otherwise, such as snowy London scenery, they fall short. Against the magical success of the practical effects, they do not always feel necessary.

A Treat for the Eyes 👀

Paul Will’s design brings a hilarious office to the opening scene. A little bell to ding, heightened chairs, stacks of files and cupboards — it helps create how self-important Scrooge and Marley try to make themselves feel. Surrounded by all their work and glory, literally looking down on others. Other key structures are chains that hang from the ceiling, which are turned gold when the Ghost of the Christmas Present uses his merry magic. Another small moment of wonder to marvel at.

There are a lot of moving props and set pieces travelling back to the upstage wings which, although the easiest method to transition between scenes, unfortunately makes for a lot of repetitive walking back and forth. The same can be said for actors’ entrances and exits.

Victorians and Ghosts

Formidable acting choices go to casting young and lively Grace Daly as Ghost of the Christmas Past, a refreshing take as an excitable and childish spirit. The Cratchit family led by Henris Davis is touching, heartfelt and warm. Their love is well felt, and Bob Cratchit’s humour brightens any chance of Victorian gloom. Lance West as both nephew Fred and young Scrooge, apart from a clever parallel, carries scenes with rejuvenating energy. What comes as a more surprising casting choice is that instead of using one of the young child actors to play Tiny Tim, the role is played by a member of the adult cast. It makes it difficult to empathise with a non-tiny Tiny Tim.

Dickens is Here Too Sometimes

Michael Mears (Narrator/Charles Dickens) makes a typically warm and nostalgic red-cushioned-chair friend. However, after not being in the opening scene, he continues to fade out of the story. Whether this is a purposely smaller-than-expected role, or his inconsistent appearances are intentionally inconsistent, is unclear. Either way, Dickens disappears for long spans of the story, and his contributions, although well portrayed by Mears, add little overall.

Hark the Angels Still Do Sing

Yet overall, A Christmas Carol: A Ghost Story is a wonderfully enjoyable Christmas experience for the family, if not quite “ghost-like”. Though a few production elements hinder the play achieving its full potential, there is otherwise a beautifully developed story set upon a lovely set.

Feature Image: A Christmas Carol- A Ghost Story at Alexandra Palace. Photo by Mark Douet

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Charles Dickens’ A Christmas Carol: A Ghost Story will run at the Alexandra Palace Theatre until January 4th 2026. For tickets or more information, click here.

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