Charles Dickens wrote his novella, A Christmas Carol, in 1843.  He is reputed to have written it for two excellent reasons: to make money as a writer and to call out public callousness towards the exploitation of the working class. (He had planned to write a scholarly pamphlet scolding politicians but realised that crafting his points as a wildly entertaining ghost story for the public would work better).

It’s wild that 183 years later, Dickens’ story, performed true to historical period and plot, can still feel so burningly relevant. It’s almost as if we haven’t learnt anything about compassion and equity and our leaders have no decent principles… but I digress.

This is the NZ debut of Queensland-based Shake and Stir Theatre Co’s much-awarded show. A Christmas Carol by Charles Dickens has done so well in Brisbane it’s been a seasonal staple for eight years, with audience members returning year after year and with largely the same cast members. Eight return / sold out seasons is pretty damn impressive.

As soon as we arrive at the Civic, the high production values are obvious. Set designer Josh Mcintosh has made 5 or so double storey platforms on wheels; there are windows, doors, balconies and stairs, and they rotate into multiple configurations to make the inside of a mansion, Scrooge’s office and a London street. The programme notes mention the word ‘metamorphosis’ as a central tenet of design and direction, and this set constantly morphs. It’s a marvel to watch the actors hitting their marks so precisely, each set rotation perfect and with almost no transition time between scenes.

Much use is made of traditional stage magic. This is augmented with modern technologies such as a huge projection screen behind the performers and projection mapping to animate a painting and a doorknob. A scrim (translucent screen) sandwiches actors leading to ghostly effects where it’s often hard to tell what is a projection and what is a real actor. Actors can safely and cheaply fly, grow, morph and double. A large round screen above the proscenium arch becomes a clock; Easter eggs abound, such as the silent appearance of a ghost.

The lighting design includes some features to aid in the good old switch and bait where the audience are distracted by something else; a projection so we can’t see the actor entering on the other side; blinding lights so we can’t see screens coming down at key moments. The old timey theatre tricks still work brilliantly, even better than the tech, because we’re so used to digital tricks by now. There are some things technology cannot fully replace.

I’ve brought the whole family as my co-reviewers; when I can tear my eyes off the stage I look over at Miss 13 and Mr 11 and they are both stilled, paying close attention – believe me that’s an achievement. Later when we talk it’s evident they were caught up in not only the story, but also analysis (yes, proud mum here). So much so that they correct my observations about the set design and how many sides each set piece had.

Nelle Lee is credited for A Christmas Carol’s stage adaptation. She has stuck close to the original language palette, but jokes have been modernised and pacing and scenes read well to modern audiences. It’s a clever script circling back to certain lines in Dickens’ original, using repetition for dramatic irony and making the blithe lies of those in power look silly – I wish it worked as well in real life.

Michael Futcher directs a cast of just seven who embody all the characters, with whip-quick costume changes, immaculate timing and sharp character differentiation. Veteran award-winning actor Eugene Gilfedder plays Ebenezer Scrooge – he’s on stage for almost the entire 90-minute period except for, my kids inform me, two seconds when the focus on a child carrying a turkeyenables his quick disappearance (presumably for a quick sip of water and a second’s quick lie down).

Bryan Probets is the other multiple award-winning actor – he gets to play four ghosts, which he makes look very fun. Two of the characters are embodied using puppets, and the actors pass the operation of Tiny Tim among them. The other actors – Will Carseldine, Judy Hainsworth, Nick James, Mia Milnes and Lucas Stibbard, snap in and out of character seamlessly. It’s all very impressive and demonstrates the amazing shows you can achieve with repeat seasons and long runs (hint hint theatre funders in Aotearoa).

An eighth performer, violinist Tabea Sitte, provides an emotive anchor at key moments – she’s supported by a soundscape designed by Guy Webster and composed by Salliana Campbell. All of the cast have lovely voices and can absolutely ace a Christmas carol, in harmony of course.

It was hard to fault this production – it’s a faithful rendering of the story in a way that never loses pace, shows each of the many characters clearly, and takes us on a journey of redemption with Scrooge. Many audience members came wearing glittery Xmas outfits; by the time the show finished, I think all of us had been reminded that true Xmas spirit is being kind, giving people the benefit of the doubt, and trying to help those less fortunate. Sequins suddenly felt out of place, the recent stampede of Cyber Monday and Black Friday superficial.

It’s incredible to think that at the time A Christmas Carol was written, many of what we now think of as classic Xmas traditions didn’t exist – trees, carols, family gatherings, turkey were all new to the Victorians, and the Americans were yet to take these to a higher, tackier plane. On googling, I found that the enduring popularity of A Christmas Carol itself – with Dickens choosing to show community celebrations instead of religious ones – even helped to embed these ‘traditions’.

In the Auckland Live season, volunteers from Auckland City Mission – Te Tāpui Atawhai are on hand before and after the show, should audience members wish to make use of their newly reignited Christmas spirit and donate. It’s a partnership I applaud, and a good conclusion to an excellent theatrical experience.

An uplifting, magical and engrossing experience for the whole family in the form of an exceptional theatre production.

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