A Christmas Carol
With its faded, Victoria glory, the theatre at Alexandra Palace is the perfect setting for Mark Gatiss’ adaptation of this timeless Dickens classic. It’s the familiar story of the redemption of one miserly and miserable Ebenezer Scrooge (Matthew Cottle), corrupted by his own single focus of gaining more wealth at the expense of anyone and everyone. His story is contrasted by that of his long-suffering employee, Bob Cratchit, played with warmth and humour by Henry Davis. Cratchit must ask each year whether he can spend Christmas with his very poor, but remarkably happy family, including the very unwell and vulnerable Tiny Tim (Elios K Douglas). It must be noted that Tim is not-so-tiny in this production!
Gatiss (Sherlock Holmes, The League of Gentlemen and Doctor Who) is a self-confessed Christmas Carol super-fan, having first watched a version of the story when he was 4. In the production programme, Gatiss states that his aim is to bring the ghost-story element to this piece and remind us of the original story. He also aims to capture some of the elements that other adaptations perhaps gloss over. More of that later.
The set, designed by Paul Wills is both stark and imposing in equal measure. Tall towers of filing cabinets tell their own story of the obsession and oppression of Scrooge’s situation. The physical set is brilliantly enhanced by projection, puppetry and a soundscape that add to the dramatic and ghostly nature of this production.
Gatiss brings some clever touches to the story. He makes much more of Scrooge’s partner Jacob Marley, appearing in the opening scene alongside his business partner, Scrooge. Marley is played by Neil Morrisey who gives Marley an equal treatment of cruel humour, in life and torture in death. Gatiss uses Marley’s arc to suggest that it is he who lures Scrooge into a life of obsession and greed. In fact, that infamous exclaim of ‘Bah humbug’ at the mere mention of Christmas is as much Marley’s as it is Scrooge’s. It brings a context to Marley’s chains of torture that he wears as he visits Scrooge as the first ghost – it’s not just his life that he is responsible for.
Gatiss also includes a narrator who builds the character of the story and adds to the sense of mystery. At the very end of this adaptation, Gatiss introduces a beautiful twist for the narrator, but I’ll leave you to find out what that is.
The other addition that Gatiss brings is in the story of the Cratchits as Scrooge encounters the Ghost of Christmas Yet to Come – the one he fears the most and the one who finally brings about the much-needed redemption. Many (if not all) adaptations gloss over the immense grief that the Cratchits would have felt when Tiny Tim dies in this version of Scrooge’s future. Not Gatiss’ version. Bob and Mrs Cratchit (Charlotte Bate) remind us of the devastation that would be felt at the loss of a child. This adds a gritty reality to what we know is a fictional story.
What of Scrooge himself? Cottle allows us to have that combined reaction of disdain and eventual love for this character as he goes on his journey. Cottle doesn’t shy from the brutal side of Scrooge, who can often be treated as a panto villain. Neither does he shy away from his utter giddiness when he awakes on Christmas morning, knowing that he has a second chance. His light-heartedness in this moment is infectious, and the audience enjoys it immensely.
This is a well-staged and well-performed production, with a talented cast and crew. It brings freshness to the familiar story. Dickens’ original writing ensures that not much has to be changed/added to, to make it a story as relevant for today as it was in its original form. Gatiss strikes that balance well – updating just enough, while allowing the integrity of the original to shine through.
This is well worth seeing. With the addition of some traditional Christmas carols sung beautifully by the ensemble, this is sure to give you all the Christmas feels!
This show was reviewed on the 26th November at Alexandra Palace, London where it runs until the 4th January 2026. Tickets available here : A Christmas Carol | A Christmas Carol
Review written by Ian Worsfold
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Photo credit: Mark Douet
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