A Christmas Carol as presented by Oyster Lane Theatre Group

Oyster Lane Theatre Group 

A Christmas Carol – The Musical 

Wednesday 27th November 2024 

Since its original publication almost two hundred years ago, ‘A Christmas Carol,’ by Charles Dickens, has seen many re-imaginings on the big screen, small screen and, yes, on stage. Celebrating their 30th anniversary, Oyster Lane Theatre Group presented the Menken, Ockrent and Ahrens musical version of the classic Dickensian tale to a delighted audience in the stunning National Opera House. And what a fitting anniversary show this was, full of stellar performances, excellent production values and a timeless, heartwarming narrative that sent us away with a smile on our faces and full of festive cheer. 

Front of house set the tone beautifully for what was to come. I was so disappointed to have missed what I believe was a gorgeous choral performance of Christmas favourites in the foyer before the show commenced. What a lovely idea that was to get everyone warmed up and into the Christmas spirit. The hospitality and warm welcome from front of house staff was most appreciated as we took our seats in what has to be one of the most impressive theatres the country has to offer. 

Director Thomas O’Leary is no stranger to the Opera House stage and that familiarity must have helped greatly when staging this mammoth show. It was a brilliantly slick production, moving from reality to other-worldly locations so seamlessly, in what was an almost cinematic realisation of the timeless tale of Ebenezer Scrooge’s unlikely redemption. It was full of attention to detail and care in every element. There was a huge level of collaboration with fellow production team members and technical teams in evidence. Work with cast and characterisation was exemplary. Ensemble integration into the action was excellent. Background action and business was always meaningful, never distracting and added a layer of realism at all times. Street business felt so real, with a sandwich board man, children on sleds, a game of ‘ring a rosies’ and many more authentic touches. I loved the ease with which we melted from reality to more sombre settings as Scrooge contemplated his fate. A wonderful job, to be very proud of. 

Patrick Clancy’s musical direction was excellent. His wonderful fifteen-piece orchestra produced an incredible sound which really brought Alan Menken’s sumptuous score to life. Thanks to Mr. Clancy’s expert conducting, the accompaniment was beautifully sensitive in numbers like the gorgeous ‘A Place Called Home’ but more full and vibrant when required in the big production numbers like ‘Mr. Fezziwig’s Annual Christmas Ball.’ There was an incredible choral sound from the large ensemble, enhanced greatly by wonderful sound balance and great support from a skilled group of pit singers. Principal singing across the board was of a really high standard, with some standout performances, even in the smaller roles. Underscoring was beautifully sensitive and kept to just the right level during dialogue. 

Jonny Smith’s choreography was vibrant, inventive, and visually appealing throughout. From the joyous Fezziwig number to the more sombre ‘Dancing on Your Grave,’Mr. Smith’s choreography was always appropriate in style, precise and, most importantly, driving the narrative at all times. The Fezziwig ball was full of energetic exuberance in what was a brilliantly executed routine. Everything was thrown at this number. We had impressive lifts, a wonderful fan sequence, cartwheeling ladies, can-can kick lines and splits that had me wincing in admiration. ‘Abundance and Charity’ was an equally impressive, full on production number, complete with a fabulous tap number led by the very talented Conor Lyons. The ballet group were a joy to watch as they accompanied the various ghostly apparitions with such glorious finesse. 

Kevin Reade played the iconic Ebenezer Scrooge brilliantly. His journey from miserly

curmudgeon to his eventual redemption as generous benefactor, was skilfully played with sensitivity, intelligence, and nuance throughout. Mr. Reade’s physicality was very well studied. Every movement had thought behind it. He was completely immersed in the role and never once let his characterisation slip. I loved his beautiful mirroring of Young Scrooge’s dance with Emily as he relived his youth in a very poignant manner. Mr. Reade sang very well with a rich baritone voice. His ability to tell the story through song was most impressive. ‘Yesterday, Tomorrow and Today’ was a real highlight as we saw his internal conflict and even a hint of vulnerability before his eventual realisation and redemption. 

Michael O’Gorman was a most endearing Bob Cratchit. He was a lovely character, all about his family, his humble existence, and his meagre means, which contrasted starkly with Scrooge’s miserly ways. Mr. O’Gorman was a super singer too with a beautiful tone to his voice. He had a little timing hiccup with Tiny Tim on the night I attended but was quick to get himself back on track with help from Mr Clancy. 

Jenny Keogh played the Ghost of Christmas Past with a beautifully ethereal presence as she brought key events of Ebenezer’s past to life, giving us an insight into the underlying issues which shaped this empathetically bankrupt man. Her stunning soprano voice was an absolute delight in her haunting rendition of ‘The Lights of Long Ago.’ 

A jovial Conor Lyons played the Ghost of Christmas Present. Mr. Lyons had exceptionally good presence and a superb sense of theatricality. ‘Abundance and Charity’ was sung and danced superbly by Mr. Lyons in his inimitable theatrical manner. As light-hearted and upbeat as his characterisation was, he was well able to turn on the darker side too. He was very strong as he berated Scrooge. “The child will die!” was emphatic and sobering, emphasised even more by its contrast with what had preceded. 

There aren’t too many performers who can perform a key role without uttering a word. Emma Nolan was a silent, ominously foreboding presence as the Ghost of Christmas Future. A most graceful ballerina, I was transfixed by her movement as she drew us into the darkest sequence of the show, painting the grimmest of pictures for Ebenezer in ‘Dancing on Your Grave.’ 

Neal O’Leary was an intense, ghoulish but ultimately funny Jacob Marley, Scrooge’s deceased business partner who delivers the chilling news that he will be visited by the three ghosts. Mr. O’Leary had wonderful presence and great physicality as he got every last drop out of his fun characterisation. His ‘Link by Link’ was an excellent number, very well performed by Mr. O’Leary and the committed ensemble. 

Barry Wadding and Majella Londra were a fabulously energetic duo as Mr. and Mrs. Fezziwig and they led from the front in the wonderful ‘Mr. Fezziwig’s Annual Christmas Ball.’

Daniel Furlong was an excellent Young Scrooge, giving us a glimpse of Ebenezer as a young man. A fine actor, Mr. Furlong displayed a lovely baritone voice in the beautiful ‘A Place Called Home.’ 

Equally impressive was the extremely talented Holly Rossiter as Emily, Scrooge’s love interest from his youth. Ms. Rossiter had great presence and superb diction. Her singing was incredibly good, her soaring soprano voice leaving us wishing that her role was much bigger. 

Aidan Morrissey was a great choice as Tiny Tim. He had a lovely blend of hope and innocence and, in spite of his frailty, we recognised his resilience and positive outlook. His iconic “God bless us everyone” was delivered with great hope. What a great voice he had too. I look forward to seeing Aidan perform many more roles in the years to come. 

Robert Kelly was an excellent Mr. Smythe. Again, I wished this role was bigger as Mr. Kelly was a fine actor with great command of dialogue. 

Louise Hewitt was a warm and sincere Mrs. Cratchit and she played very well off the other Cratchit family members. 

In a show with multiple cameo roles, there was great support too from Thomas Furlong and Caitlin Carty as Fred and Sally Anderson. Also, very impressive were Joshua Higginbotham as Young Jacob Marley, Leighton Duignan as Jonathan, Aoibhinn McCarthy as Gracie Smythe, Caroline O’Connell as Mrs. Mops, Cillian McCamley as 12-year-old Scrooge, Niamh Bradley as Fan Scrooge and Katie McElheron Doyle as Martha Cratchit. All other featured roles were played to a very high standard, adding to the very professional feel of the production.

Special mention, however, to the young man who purchased Scrooge’s turkey. A super cameo. This lad will go far! 

The very large ensemble added so much to the realism of this wonderful show. Whether they were carol singers, townspeople, sailors, partygoers, or ghostly accomplices, they were well rehearsed, focused and always in tune with the storytelling. Chorally, this was a wonderful group and their dancing was so slick and well performed too. Most impressive, for me, was their completely natural background business which never distracted. There was great use too of a very talented troupe of children who added great authenticity and energy to the show. What a fantastic opportunity for them all to work with such a talented cast and crew. A credit to you all. 

Colin Murphy’s stage management was incredibly slick and professional throughout. There was an amazing fluidity to the whole show that complemented its wonderful pace perfectly. The colossal set, with its towering buildings, just glided on and off stage, as required, with minimal fuss and perfectly timed transitions. Fly cues were timed to perfection and crew were highly efficient and hardly ever seen. 

Set design was simply outstanding. From the moment we entered the theatre and saw the most sumptuous pre-set, we knew that this was going to be a visually stunning show. The attention to detail in recreating the Victorian London landscape was wonderful. The detailed buildings and archways were perfectly authentic, as were all of the large set pieces that were introduced throughout the show. Very much a part of the whole design concept was the fabulous AV element which added so much to the overall aesthetic. The perfectly chosen images and animated sequences blended in perfectly with the physical set, creating a unique and perfect blend of traditional set pieces with more high-tech, visual elements. 

Lighting for this show was hauntingly beautiful at times. There was so much attention to detail in creating some beautifully atmospheric states. The cobble-effect gobos and backlit windows set the tone from the outset. The funeral sequence was wonderfully atmospheric. The clever use of follow spot for Scrooge, created wonderful separation between reality and the ethereal world of the ghostly characters. Well-chosen colours and dramatic shadowy effects enhanced a beautifully realised design, operated seamlessly, which added so much to the narrative as we melted in and out of reality and Ebenezer’s dream. 

The sound design was excellent for the most part. Sound effects added a great layer of authenticity. Underscored dialogue could be heard loud and clear. The effect on Marley’s voice was well judged and added so much to the other worldliness of the scene. Choral numbers were mixed to perfection, with a lovely balance and a warm, full vocal sound. 

Attention to detail was all over the props department, keeping up the very high standards set in other areas of production. Everything was authentic to the era. From the beautifully wrapped presents, tied with ribbon, to the candelabras with flickering lights, to turkeys on platters, to chimney sweeps’ brushes, to Tiny Tim’s iconic crutch, there was a top-class props team at work. 

Costumes were stunning. The perfectly chosen Victorian attire transported us back almost two centuries. There were top hats, mop caps and bonnets aplenty. Ensemble daywear looked wonderful. Scrooge’s iconic nightcap and housecoat were perfect. The look for each ghost was meticulously put together, with nothing left to chance. Mr. Lyons’s coat was a fabulous piece, as was his poinsettia headdress. The white, veiled ballet costumes in Act 1 were beautiful and the black ballet costumes in the second act were equally stunning. Key to the costume plot was the meticulous attention to detail. Huge congrats to the entire team. 

Hair and make-up were in good hands. There were fabulous wigs for the ghosts and I loved the authentic sideburns and facial hair of the gentlemen. Hairstyles were appropriate to the era and make-up was well chosen also. 

This was an absolutely, top tier production of a huge show. An enormous amount of hard work was in evidence in every department. With stellar performances, captivating choreography, stunning musicality, wonderful direction, and excellent technical elements, it was a most uplifting, entertaining spectacle. Huge thanks Oyster Lane and congratulations on your 30th anniversary show. To paraphrase Tiny Tim, “God bless you, everyone!” 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Some photos provided by the society; Photographer: Paula Malone Carty