Adapted & Directed by Nick Hennegan

From the original performance text by Charles Dickens

Tickets from £16.00

As ingrained into the zeitgeist as any Pantomime or Nativity, A Christmas Carol completes an unofficial trifecta of the festive season’s offerings. With the growing years, the tale of the heart of a man with enormous wealth, enough to change lives, but turns to their own selfish cruelty is all too familiar for audiences. Ebenezer Scrooge, a character so recognisable the name takes on its own descriptive meaning, and his encounter with the spirits of the festive season captures Dickens’ story of redemption, guilt, and generosity in a way which has captivated audiences for generations.

For many, Dickens’ A Christmas Carol is more than a tradition: it’s a legacy of literature and culture. Guy Masterson grasps this with aplomb.

Looking forward to returning to their (nearing) thirty-year home at the Edinburgh Festival Fringe, Masterson finds themselves back in the city a touch earlier than expected. But the overpriced food is still there at the Christmas Market, as Masterson takes to Edinburgh at the Assembly Roxy to deliver an exceptional solo performance of Charles Dicken’s A Christmas Carol, the tale many thought they knew, but perhaps never told in a manner so artfully and adept as this.

The miserly Scrooge’s visitations by the ghosts of his partner, the late Jacob Marley, warns of further visitations from spectres embodying Christmas Past, Present, and Yet to Come. Throughout the evening, Scrooge collides with the sins of his past, the impact of his present, and the grave warning of his future, all serving to remind the man to hold all he can within his heart and the spirit within him should walk abroad among his fellowmen.

Benefiting from a relatively pure reading the script isn’t updated or altered in terms of the language or pacing, though Masterson is equipped with plenty of accents and dialects to separate characters. Tastefully executed, while the progression of stories is natural, sometimes the depth and quality of a tale such as this can carry itself on the foundations which created it. Wreathed in black drapes, a singular chair the scale of the setting, and a lonely Mac hanging from a guide rope, Masterson has little else on the stage other than himself to craft a Christmas classic. And that’s all they need.

Wrapped in this pale raincoat, Scrooge leaps to life with a strong Cockney accent and hunched frame. There’s a clear distinction between characters as Masterson gifts each with a shape and voice: Mr. Fezziwig, the Ghosts (particularly of Christmas Past), and Mrs. Cratchit’s venomous call-out of Scrooge’s actions. More than cycling through the monologues and interactions, the strength in Masterson’s performance is the adeptness in still evolving the story and character – as Scrooge’s transformation comes over as genuine and earnest, and physical as stands more upright, rather than tacked on in a switch of tone.

Not strictly alone, the thought process behind the show armours Masterson in their rich storytelling performance, with Robb Williams’ subtle scoring to set the mood, accompanied with creaks and shudders which set the whole performance off nicely and offer a guiding sense of image for Masterson’s conjuring. But Guy Masterson’s A Christmas Carol is not one lit by candle, indeed the lighting is one of the triumphs of the show – comprehending the flashes of aethereal light from the ghosts, as well as utilising darkness and solitude to command a sense of Scrooge’s self-inflicted isolation.

Guy Masterson’s A Christmas Carol is a tremendously effective solo performance of a timeless classic, gifted with deserving reverence – handled with skill, chills, and even a little comedy. Its pacing leads to an abrupt closing first act, but there’s little denying the intensity which Masterson channels into their performance, and demonstrates why Dicken’s work is a classic – and how beguiling and influential the piece is, told in a pure, but expert manner.

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