Seated in the stalls of Leeds Grand Theatre, I watched falling snow projected onto a screen and a Christmas Tree twinkling upstage. The scene is set; it’s time for A Christmas Carol.
Music, dance and storytelling come together in this sensory tale, when miserable Ebenezer Scrooge is forced to remember the true meaning of Christmas (and no, it’s not presents!).
Northern Ballet’s reimagination of this Christmas-time classic is both delightful and deliciously festive.
This three-act performance follows the hauntings of the Ghosts of Christmas Past (Saeka Shirai), Present (Harry Skoupas) and of Christmas Yet to Come (Andrew Tomlinson) in the hopes that through this journey Ebenezer Scrooge (Jonathan Hanks) will realise that his selfish ways are the cause of his miserable life. Coming face to face with his past, present and future reminds him to embrace the joy and wonder of life and celebrate the festive season along with the rest of the townsfolk.
©Tristram Kenton 11-24
Northern Ballet has always been innovative and pushed the boundaries of traditional ballet performances, opening up the world of classical ballet to a modern audience and reimagining classic stories with their new, refreshing take. This production of A Christmas Carol performed at Leeds Grand Theatre was no exception. Its modernisms, including dancers singing Christmas carols live on stage, are a clever and creative retelling of the well-loved story, which was full of twists and turns (literally!)
Massimo Moricone has succeeded in merging classical ballet lines with modern dance movement and developed an exciting repertoire which displays each dancer’s talent and explores the physicality of characterisation. The pas de deuxs were mesmerising and solos were an impressive display of individual artistry and storytelling. Moricone’s choreography captures the spirit of Christmas, spritely movement and large ensemble numbers, demonstrating the joy of being together over the festive period. Dancers also performed contemporary style pieces and even a version of ‘Sir Roger de Coverley’ the old English and Scottish country dance, a nod to the details of Charles Dickens original book.
A standout performance for me was Harris Beattie as Bob Cratchit, Scrooge’s poor clerk. His presence on stage was joyous and the entire audience was captivated by his skill as we watched him leap across the stage.
This performance also featured young dancers from the Academy of Northern Ballet. Across the entire tour they have worked with more than 120 children nationwide from local dance schools, inviting them to join the professional dancers in their telling of this story.
A different approach from most performances we are used to in live theatre, this production was performed to recorded music. Whilst I definitely think the magic of hearing a live orchestra cannot be replicated, Carl Davis’ score was an exciting blend of traditional music and Christmas classics and added to the festive ambiance.
The set, though minimal, was extremely effective. The main structure of the counting house was opened up, turned around and inside out to serve purpose as different interiors for other scenes in the performance. Cast members integrated set changes into choreography which made the story line seamless, flowing effortlessly from one scene to the next. Scrooge’s bed was even repurposed as a dining table at the Fezziwig Ball. It was definitely a fun extra to watch characters interact with different set and props and reusing them throughout.
Costuming was exceptional, with particular mention of the costumes of the Ghosts. Each was nuanced and crafted with exceptional talent, particularly the eery, feathery wings of the Ghost of Christmas Yet to Come. It was hard to be fearful of the character when the costume itself was so beautiful and with every swish of the cape a new element came to be revealed.
The attention to detail in this show is something that certainly has an impact – the makeup used to age Hanks was so precise and emphasized the infamous scowl of his iconic character.
The entire production team has done a wonderful job at creating an environment which easily transports the audience back to Victorian England and the world of Dickens.
My personal show highlight was, unsurprisingly, when Scrooge finally embraces the festive spirit, performing a large number with the entire cast which seemed an appropriate ending to ensure the audience left the theatre in the wake of a celebration.
Northern Ballet is concluding their national tour of A Christmas Carol on 4 th January 2025 in, Leeds. This wintery treat is suitable for all the family and will be a sure success over this Christmas period.
Directed and Devised by Christopher Gable CBE
Choreographer Massimo Moricone
Production Design Lez Brotherston OBE
Music Carl Davis
Performed by arrangement with Faber Music Ltd, London
Lighting Designer Paul Pyant
Tour Lighting Alastair West
Music recording courtesy of the Royal New Zealand Ballet. Recorded by Orchestra Wellington in 2014 at the St James Theatre, Wellington, New Zealand and conducted by Nigel Gaynor.
Leeds Grand Theatre
17 December – 4 January
leedsheritagetheatres.com
Main image: Northern Ballet Dancers in a Christmas Carol.
Photograph by Emily Nuttall.
