★★★
James Hyland, our man all in grey, gives a refreshing and intimate retelling of Dickens’s perennial favourite. In shifting the narrative lens to Marley himself, Hyland simply adapts and avoids a stereotypical rehashing of A Christmas Carol. This production is stripped to the bone and involves little lighting and even less stage design. Brother Wolf production company has made great use of this close, cabaret-style setting, for a lively revival of Christmas spirit.
The piece relies upon a spellbinding performance by Hyland. First, he plays the drab, manic and chained Marley, who posthumously arrives on stage to warn those that may lack in jovial December festivity. It’s a perspective which certainly deepens the moral stakes. He also markedly provides a compelling Scrooge in a raspier vocal tone and a hunched posture. Next, Hyland proves he can mimic each of this story’s characters in chronological order with great self-possession. It’s clear he knows the finer details of the text and selects the most vital for his 75-minute theatrical resurrection.
Upstairs at the Gatehouse provides an ideal home. There is a natural proximity between performers and the audience, allowing Hyland to creep up on anyone who may not be paying enough attention. The space is used imaginatively with swift transitions between parts and provides the perfect acoustics for Hyland’s vocal range. There is a nice balance between honouring the text and enlivening the stage with clever but simple theatrics.
If anything, the production team should make more of Hyland’s abilities. At some points, there is a lack of inventiveness with the set design which is limited to a chair. Sound and lighting could also be employed to greater effect as these never stray from silence and a wooden chair on stage respectively. This play lacks just that small added gloss of inventiveness needed for such productions.
Nicki Martin-Harper is in a league of their own with their costume design. Marley comes alive in compelling chains that shackle Hyland’s feet to his hands, a peeling period outfit and even a greying face that doesn’t have a blemish of pink flesh complete with it’s burning red eyes. This level of detail, skill and effort, rarely finds its way onto a West End or Broadway production.
By using the voice of Dickens’s most damned soul, A Christmas Carol – as Told by Jacob Marley (Deceased) succeeds in reminding us why this story endures. It is thoughtful, engaging and affecting. Hyland gives theatrics to a ghost story that lingers well beyond the final chain’s rattle.
A Christmas Carol – as Told by Jacob Marley (Deceased) will be performed Upstairs at The Gatehouse until 22 December.
Words by Harry Speirs
Support The Indiependent
We’re trying to raise £200 a month to help cover our operational costs. This includes our ‘Writer of the Month’ awards, where we recognise the amazing work produced by our contributor team. If you’ve enjoyed reading our site, we’d really appreciate it if you could donate to The Indiependent. Whether you can give £1 or £10, you’d be making a huge difference to our small team.