It’s Christmas Eve and Ebenezer Scrooge is counting down the seconds until the silliness of the season passes. Deeply entrenched in his own misery, Scrooge is visited by four ghosts who take him through Christmases past, present and future. Redemption is his for the taking, but is Old Scrooge capable of changing his ways before it’s too late?
Charles Dickens’s A Christmas Carol is one of the most enduring Christmas stories of all time, a tale that has been adapted countless times across stage, screen, and radio. Its universal themes of redemption, generosity, and the rediscovery of joy make it a perennial favorite. Shake & Stir Theatre Co’s recent production, adapted by Nelle Lee and directed by Michael Futcher, demonstrates how a company can achieve a great deal with limited resources, crafting a show that is both immersive and heartfelt. While not flawless, it succeeds in capturing the essence of Dickens’s story and leaves its audience smiling.
The creative team behind the show deserves recognition for their ability to conjure Victorian England with ingenuity. Designer Josh McIntosh’s set is a clever arrangement of 3D pieces that interlock in various patterns, allowing the cast to move fluidly across and above the stage. This modular approach creates a dynamic environment that shifts seamlessly from Scrooge’s counting house to the bustling streets of London, and from intimate domestic interiors to the eerie landscapes of the spirit world. At times, particularly on the upper levels, the sets appear a little wobbly, but the overall effect is convincing and engaging.
The immersive quality of the production is heightened by Craig Wilkinson’s video design, Jason Glenwright’s lighting, and Guy Webster’s sound. Smoke, haze, and projections combine to create a three-dimensional experience that feels larger than the stage itself. The audience is drawn into a world where portraits come alive, spirits materialize from thin air, and Scrooge is whisked through time. The occasional hammy flourish is present, but rather than detracting, it adds to the playful theatricality of the piece. This is a production that embraces spectacle without losing sight of its story.
Costumes, too, play a vital role. Lavish and carefully detailed, they allow the supporting cast to shift between multiple roles without confusion. The outfits provide clear visual cues that prevent the actors from needing to exaggerate their performances, keeping the tone balanced between realism and theatricality. Composer Salliana Campbell’s score, performed live by musician Tabea Sitte, adds warmth and texture, underscoring both the festive cheer and the darker moments of Scrooge’s journey.
The cast of nine (ten if you count the presence of Tiny Tim) demonstrates versatility and commitment. Eugene Gilfedder, as Ebenezer Scrooge, is the only actor assigned a single role. He leans into the character’s senility and mania, with a twinkle in his eye that suggests both miserliness and eccentricity. His performance is entertaining, though it risks becoming caricatured and one-note by the end. The transformation of Scrooge from miser to benefactor, the emotional core of the story, feels somewhat rushed. Gilfedder’s change of heart is not as convincing as it could be, particularly in the scenes with the spirits of Christmas Past and Future. More engagement in these moments would have lent greater depth and made the redemption arc feel more earned. That said, his scenes involving his former flame are poignant and well handled, offering glimpses of the vulnerability beneath the bluster.
The supporting cast compensates for these shortcomings with energy and skill. Bryan Probets is particularly entertaining in his multiple spirit roles, breaking the fourth wall to draw the audience into the action. His playful interactions add humor and immersion, ensuring that the supernatural elements feel accessible rather than alienating. Nelle Lee, Mia Milnes, Ross Balbuziente, Nick Skubij, Lucas Stibbard, and Tabea Sitte all move seamlessly between roles, embodying family members, children, community figures, and even musical performers. Their ability to interchange swiftly, aided by costumes and props, exemplifies the production’s ethos of doing a lot from a little.
The ensemble’s smiles and warmth are infectious. Even when the joy feels slightly hammy, it conveys resilience and strength, reminding us that happiness can be found despite hardship. This is particularly effective in scenes depicting poverty-stricken communities, where the cast’s energy transforms bleak circumstances into moments of shared joy. The message of community and generosity shines through.
Shake & Stir Theatre Co advertises the production as suitable for the whole family, but it is best recommended for audiences aged ten and above. The third act, featuring the spirit of Christmas Yet to Come, introduces horror elements that may unsettle younger children. These moments, however, are integral to the story’s moral arc, and the production handles them with care, balancing fright with theatrical flair.
The overall tone is one of joy and celebration. The creative team and cast succeed in portraying the happiness that comes with the Christmas spirit. The audience is invited to rediscover the resilience of joy, the strength of community, and the possibility of redemption. While some character development could have been more organic, the production’s heart is in the right place, and its sincerity is undeniable.
The greatest strength of this production lies in its resourcefulness. Local Australasian theatre often demonstrates how to get mileage from limited means, and this show is no exception. Sets are reused and transformed, props become characters, and visual gags repeat to delightful effect. The lighting and video design draw the eye away at just the right moments, allowing the cast to reset the stage without breaking immersion. This ingenuity creates a world much wider than the physical stage, proving that creativity can overcome constraints.
The weakness, as noted, is in the depth of character development. Scrooge’s transformation, the emotional climax of the story, feels somewhat underdeveloped. While the supporting cast provides strong performances, the central arc could have been more nuanced. A deeper exploration of Scrooge and more engagement or responsiveness with the spirits' journeys would have made his redemption feel more earned. This does not ruin the production, but it prevents it from reaching the highest level of emotional impact.
Shake & Stir Theatre Co’s A Christmas Carol is a competent and well executed production that achieves much with modest means. Through clever design, versatile performances, and a commitment to joy, it brings Dickens’s story to life in a way that is immersive and entertaining. While some aspects of character development could have been more involved, the overall effect is one of warmth and celebration. The audience leaves with smiles on their faces, reminded of the enduring power of generosity and community.
This is a show that demonstrates the resilience of theatre itself. By embracing creativity and resourcefulness, it proves that even familiar stories can feel fresh and engaging. It may not be perfect, but it captures the spirit of Christmas with sincerity and charm. Very enjoyable indeed.
A Christmas Carol by Charles Dickens is being performed from December 2-7 at Auckland's The Civic. Tickets can be purchased here
Content Warning: This production contains supernatural themes, haze, smoke, strobe effects and loud music.