Written & Directed by Cosette Bolt

Assistant Direction by Michael Stephens

Music Direction by Mhairi Cross

Tickets Free – (Donation encouraged)

It’s miraculous to find new ways to stage Dicken’s legacy piece: this season alone has seen several new and returning attempts to capture the spirit of the ultimate ghost story, A Christmas Carol, through innovative technique, solo performances, drag, and comedy. Returning after their excellent debut with A Midsummer Night’s Dream, Forth Act with writer and director Cosette Bolt invites audiences to be confronted by our choices and to discover what it means to be human – through the past, present, and yet to come.

A level of triumphant dedication comes from writer-director Bolt, even in their opening remarks before the production begins. There’s clarity to their thought process of where they wish the story to go, with a clear commitment to the incorporation of music and following the tone of the original story, even if a few of the plot threads are removed. Bolt’s writing elements of the production allow for frequent musical interludes, and though numerous, are often surprisingly well worked into the story to set the emotional pitch of the moment. Additionally, humour and language are tweaked in Bolt’s adaptation, though not to the distasteful level of pantomime or pop-cultural references, merely tided and primped.

This is very much Dicken’s tale of redemption, through and through, carried by a resolute cast who evidently appreciate the story as much as they relish performing it. Taking on the miserly mantle of Scrooge carries more weight and complexity than many expect, and already working against expectations by being a jolly-sight younger than the wretched old miser, Nathaniel Forsyth’s Scrooge manages to capture a snappier, more emotional Scrooge – there’s the air of a young media-smart up-start politician, fresh from a campaign and filled with disdain for their common-man. Carried with more sarcasm than the traditional role, Forsyth gives the role a sterling go of it, with Bolt and Michael Stephen’s direction keeping them in toe.

With a large cast, Bolt balances the many entrance options, including some clever use of the altar gates to emulate Scrooge’s offices, though once open, they do partially block the stage for those on the outer seats. But there is one certainty, in that all cast members are heard with strong diction and gusto – Mhairi Gilmour’s performance as Scrooge’s niece Lucy (among other roles) offers a lively and dedicated performance, as too does the entire cast, who could never be guilty of anything other than their whole commitment. As does a strong performance from Melissa Ainsworth as Scrooge’s housekeeper Cecilia, switching between sincerity and some terrific characterisation.

With the traditional doubling (tripling in some cases) of roles, most of the cast never has a moment rest, either whisking around the entirety of the church space, harmonising with the rest of the cast, or in the case of Lisa McIntyre, kicking off Scrooge’s visitations as a less harrowing, but more traditionally business-minded Marley: concise, authoritative, effective. Jen Ward offers two differing jolly jaunts as Fezziwig and later the Ghost of Christmas Present, while Michael Stephens steps up to the mark as Christmas Past, and the silent role from Heather Gore’s Christmas Yet to Come carries the necessary weight, their presence imposing enough to push Scrooge onto the back foot.

Though you’ll notice Gore belts it out for the musical numbers, offering a chance to let their voice ring out. Mairi Cross’ music direction is at its best when fitting with the tone of the moment, only occasionally coming over as a touch excessive on small occasions, but with Philip Sawyer’s strong performance on the accompanying organ behind the performance – and Gunnar Bjercke and Irena Komunjer as additional carol singers – there are likely to be no complaints: particularly for a multilingual Still the Night which truly solidifies the communal nature of the entire evening.

Sacrifices are made for the sake of coherency and compactness that draw the story to within the one-hour mark, no easy feat given how familiar audiences are with each beat of the tale, and impressively Bolt manages to maintain much of the momentum and aspects of character throughout. Though Scrooge never comes truly to face his own mortality, redemption is expressed, though more in earnest and promise than fear offering up a new dimension. Scenes such as the Cratchit home, where Isabella Velvarde, Eduarda Nogueira, and Lev Siegal bring strong presences as the Cratchits, very sincere ones between Velavarde and Nogueira as the elder Cratchits. Though Hannah-Mae Engstrom has less to do with Scrooge’s love interest but makes up for it with strong vocals and their role as the charity-seeker in the story’s opening moments.

Grasping the season of the spirits with mirthful hands and plenty of warm embrace, A Christmas Carol captures the sum of all things the original tale represents, even as it skips a few of the traditional beats. With the decision to offer free tickets (a donation to the St Salvador’s Food Initiative is invited) to encourage as broad and open an audience as possible, Forth Act comprehend the power of live performance to masses, and the accessibility of it to all who wish to come along.