Giant Olive Theatre Company Presents
A Christmas Carol
By Charles Dickens
Directed by Ray Shell
Lion and Unicorn Theatre
7 December - 5 January
A review by Bernie Whelan for EXTRA! EXTRA!
Giant Olive Theatre Company's mission is to support emerging talent and so there was no shortage of enthusiasm behind this production of Dickens' classic nineteenth century tale of famous miser Scrooge's conversion, brought about by the ghosts of Christmas past, present and future. It began with a demand for applause to welcome a class of school children about to perform their Christmas play, dressed in school uniform and misbehaving as kids do, ignoring the audience except to wave to the odd imaginary parent. As Scrooge appeared and we were launched into a faithful retelling of Dickens' A Christmas Carol, this school play motif was left behind although the cast reverted to gymslips and school PE kit when they weren't in the more elaborate costume required by the action. However, I think this was very like a school Christmas production, straining to give every member of a very large cast the opportunity to display their particular skills - a bit of violin or flute here, a bit of ballet or tap dance there. Alongside a straight retelling of the story, the audience were treated to carols in many languages, a scene depicting the WWI ceasefire and one at the end where people prayed in many religious traditions, a kind of speaking in tongues. It was very inclusive, very multicultural and very worthy, but the more contemporary aspects seemed disconnected from the traditional story and the WWI scene felt completely out of context.
A great opportunity to give the Malthusian remark of Scrooge that the poor 'better die then and decrease the surplus population' a contemporary twist was missed since the eco-view of human beings as guzzlers of scarce resources is now so prevalent. Dickens' theme of financial greed in the market was given a brief treatment with the cast shouting 'Sell!' and 'More money!' but could have been made more relevant to 21st century audiences considering the debate around the greedy bankers' responsibility for the international economic crisis.
From the very start there was far too much shouting, stamping and overacting, making the performance alarming, rather than charming. I recognised some competent actors from other productions, Juliet Lundhold from The Magnetic Lady had a small role here as Belle's sister. Peter Gerald played a not-so-nasty Scrooge, Ross Ericson gave weight to the role of Bob Cratchit along with his wife, played affectingly by Nicola Hollinshead. These more seasoned actors carried the story. I understand and support the company's ethos to encourage and develop new talent and its didactic role was successfully incorporated into the action by the full participation of the cast on stage throughout. All members of the cast shouted sound effects; every time a door was opened 'Creak', every time a door was closed 'Slam!' Although this was obviously fun for the actors, this was not drama school anymore, as the audience had paid to see a show and found this type of device irritating.
That said, it would be churlish not to celebrate the buoyant spirit of Christmas present since Becky Pennick did such a gutsy turn as a larger than life Essex girl in the role. There was a lot of raw talent on stage which, with judicious direction, could have achieved much more with less effort. Incidentally, Scrooge didn't say 'Bah, humbug!' often enough to satisfy me.
Lion & Unicorn Theatre
42-44 Gaisford Street, London NW5 2ED
Tues-Sat, 7.30pm, Sat, Sun matinees, 3pm
No shows 25th, 26th Dec and 1st Jan
Tickets: £15, £10 concs
Box Office: 0844 77 1000
www.ticketweb.co.uk
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