Written by Johnny McKnight

Directed by Sally Reid

Tickets from £17.50

Thus far we’ve had a look at a stringent one-man telling of Dicken’s A Christmas Carol, and a revived juggernaut of a show which captures the survival of theatre within its bones. And if there was ever a question that Panto hero Johnny McKnight’s Aganeza Scrooge was going to be the funniest interpretation of the tale, well, have you even been to a Tron Pantomime?

Offering a contemporary and (somehow) more festive take on the traditional tale of Scrooge’s tight purse and miserable existence, expect plenty of faux-fur, dodgy leccy deals, and a set of falsers which cut as deep as any political satire or farce. Taking a jaunt through their very own Christmas past, writer, director, and performer McKnight returns to their very first Tron Pantomime with Aganeza Scrooge – given a facelift and a wee zhuzh for new crowds as they meet the bitter old crone for the first time.

Though the central story remains much the same, with Tiny Tim, Bob Cratchit, and plenty of familiar faces and haunts of Dicken’s story, Aganeza Scrooge injects enough Scots culture and influence to stand apart as its own entity. Scrooge, the moneylender, leopard-print-clad and coin pincher finds much more joy in the suffering of those surrounding her this time around – less a miserable old fool and more the life of the party you were never invited to. But can Scrooge’s ways even be fixed? Or do the spirits have an impossible task this time around?

And what a woman Aganeza is. With style, elegance, grace, and just the level of rasp only seven pack a day can achieve, Louise McCarthy’s toying with the crowd and co-stars are unmatched by peers and the very definition of a cruel and stingy Scrooge we love to hate. With their comedy stretching from their command of McKnight’s hilariously local script to how they move the character under Eva Forrester’s choreography, the real venom in delivery comes from the vitriol in pointing out some of the persistent Dickensian attitudes towards poverty, generosity, the NHS, and arts funding in and out of schools. And if even Scrooge thinks you’re doing something wrong, well, have a look at yourself.

Throwing shots at the NTS interpretation of Dracula with co-star Katie Barnett, McCarthy devours the role but leaves plenty of room for the remainder of the cast to shine through. Barnett’s return to the Tron after last year’s Wicked Witch in the Wizard of Oz is a welcome addition of quaint charm and humour, as are Jamie Marie Leary as Scrooge’s kindly niece Gloria and Star Penders ensemble performances. Kyle Gardiner has a whole host of uniquely creative and versatile side-roles: a feeble Tiny Tim, to a Spice World enthusiastic Jacob Marley, and the show’s staring moment as an ex-lover of Scrooge and boy-band wonder that makes for the best five minutes of your week.

Reinventing the trio of spectres which taunt Scrooge’s miserly ways, McKnight twists the tale right into the pantoverse with a glittering knife of creativity. Now dubbed the Ghosts of Panto Past, Present, and Yet to Come, Aganeza Scrooge takes audiences through where the art form has been and a very genuine and truly terrifying prospect for Panto Yet to Come. More than a visual gag, the comedy changes focus, most notably with the Ghost of Panto Past, an (unwelcome for some) cheeky chappy we’re all too familiar with, carried with a strong impression from the treasure that is Julie Wilson Nimmo.

Most of the comedy, expectant from a McKnight show, a Tron show, and an adaptation of Christmas Carol, is lacerating and satirical. But don’t for a second think Aganeza Scrooge loses focus on the original message of the tale. While a departure from Christmas Carol in ways, there is still a sense of redemption and sincerity around the entire show – even if its panto elements feel a touch stapled in. There’s only an occasional moment where the pacing of delivery dips somewhat towards the end, a sense of ticking off the boxes to follow the story beats where the revised humour for the final act slows and is far less cutting than what followed, though narratively makes perfect sense as to why.

Outrageously off-the-wall, sharpening its acidic tongue on a stake of holly, McKnight’s comedy finds a pinpoint accuracy in relevance amidst all the sequins and flamboyance of Miller’s costume design that makes Aganeza Scrooge a marvellous revival for a contemporary audience. Concocting a potent cocktail of festive fizz and vinegar the Tron pantomime remains a firm staple of quality and an absolute must for any seeking a refreshing take on a classic this Christmas. 

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