See it if You like bells
Don't see it if You want something innovative
Jack Thorne’s version of the familiar tale is richly textured and shamelessly emotive, full of song and heart. This year’s staging feels shorter and more hard-hitting than the 2017 original and 2018 reprise.
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It's a very 21st century take on the classic … it oddly has the effect of making Dickens more sentimental and more moralising than he is. It also seems to strip some of his anger out of the tale, rendering it more ... easily palatable.
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It begins and ends well. Yet there’s a Dickens-sized hole in the middle. Using multiple narrators from the cast is a distraction. There are some delightful touches, though.
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Warchus enveloped a bustling production within the embrace of an audience held rapt at every turn. Composer and arranger Christopher Nightingale (a current Tony Award nominee for his score for this show) merits the highest praise.
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Matthew Warchus’ production seems ... to want to have its Christmas cake and eat it. Many of the lines hit even harder now than they did in 2017, with Dickens’ ideas about society, and how it cares for its poor and vulnerable, ringing out like a bell.
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Matthew Warchus’s magnificent staging provides everything you might want from a theatrical adaptation of Dickens’s timeless morality tale.
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Warchus's mix of Dickensian moralising and theatrical enchantment still soothes the most crochety of souls. The importance of living a good life … may be reinforced at every turn, but frankly that's no bad thing at all.
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Maybe it's the after effects of the pandemic and everything we've all been through, but I don't recall any iteration of this beloved, yet still hard-hitting, story being quite this moving.
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Two teenage missionaries are sent to Africa to spread the word of Jesus Christ. What could go wrong?
Michael R. Jackson’s Tony Award-winning new musical about a young artist grappling with identity.
Alex Lawther stars in director Robert Icke's acclaimed production of Shakespeare's tragedy.