A Christmas Carol – Review – Leeds Playhouse

By Kirsty Masterman, December 2025

I think it is fair to say that most of us will be familiar with the festive Dickens classic, A Christmas Carol. The story of Ebeneezer Scrooge and his miserly ways is a tale as old as time – one of greed, redemption and festive cheer.

Over the years, there have been many retellings of this classic story, and tonight I am here at Leeds Playhouse for Deborah McAndrew’s captivating adaptation of this festive favourite… and the word on the street is that I’m in for a treat! As I take my seat, I feel like I’m going to be part of the ensemble, practically sat on the stage. I think I’m safe, though, as far as I know there’s no audience participation…

A giant illuminated clock, surrounded by swirling fog, looms overhead, creating a somewhat haunting feel. The timepiece, I later realise, is there to punctuate Scrooge’s passage between past, present and future.

For those who are not too familiar with the story, this seasonal classic sees a Christmas-hating Scrooge visited by his late colleague Jacob Marley (played by Obioma Ugoala), who forces him on a journey of self-reflection through visitations by the ghosts of Christmas Past (Bea Glancy), Present (Claudia Kariuki) and Future, as they take him down a path of redemption.

“Visual feast”

Tonight’s production shifts the setting from Victorian London to the backdrop of an industrial Leeds. As the lights come up, the stage bursts to life with mill workers stomping around to the tune of ‘In The Bleak Midwinter’. An industrial scaffold emblazoned with ‘Scrooge and Marley’ looms overhead, and the smokestacks scattered around the stage create an atmospheric haze. There’s no mistaking the shift in location up north. I’m hooked already!

At the helm of the action is Reece Dinsdale as Ebeneezer Scrooge. Framed by a 19th-century industrial Yorkshire, Scrooge’s profession shifts to match – from harsh London banker to West Riding factory boss, working his staff to the bone. His Yorkshire growl, laced with biting wit, draws the audience in from the start. His famous catchphrase, “Bah, humbug!” lands like a haggling Leeds market trader.

Costume and set design comes from Hayley Grindle, providing a visual feast throughout, with the explosion of colour in the costumes beautifully offsetting the harsh, industrial ironmongery of the set. However, the spectral visitations are her crowning glory. From Obioma Ugoala rattling on to the stage in chains that clank like factory machinery as Jacob Marley, to Claudia Kariuki’s candy-cane-wielding Ghost of Christmas Present and her chorus of dancing baubles – arguably the most popular scene in the production, judging from my fellow theatregoers’ reactions – with Bea Glancy’s Ghost of Christmas Past bathed in ethereal lighting, guiding Scrooge through his schoolboy joys in between. Grindle certainly hits the mark.

“Northern gusto”

A big part of this production is its inclusivity. BSL and Deaf actors are seamlessly integrated in the guise of Bob Cratchitt (Stephen Collins) and Mrs Cratchitt (Nadia Nadarajah). Their silent interactions, sometimes translated by other cast members, but at others left to audience interpretation, alter the rhythm of the scenes in a way you do not expect. Collins’ gentle figure becomes comically offset by the indignant wrath of Nadarajah. Watching Mrs Cratchitt sign without speech adds a great deal of humour to the scenes at times – her signed opinion of Ebeneezer, in particular, has the audience howling with laughter.

For a production that feels huge, the cast is relatively small, laying testament to the versatility of the actors, with some taking on more than one role. From the infectiously jolly Fred (Danny Colligan) to the adorably innocent Tiny Tim (played this evening by Lucas Kerr), each character, no matter how big or small, is integral to the play.

Director Amy Leach masterfully weaves a classic ghost story, musical and folk-tale fable with McAndrew’s creative nods to Yorkshire’s industrial heritage. The ensemble shifts seamlessly from mill workers to merrymakers. Lively songs are belted out with northern gusto and are a fantastic addition to the storytelling. Several cast members even play instruments as well as being part of the chorus line, adding an extra layer to the production, with the brass band really solidifying its Yorkshire setting.

“Wonderful”

McAndrew’s northern retelling of the Dickens classic certainly breathes new life into a tale as old as time. For a story retold year on year, this production feels fresh and exciting, and one that sits uniquely within its genre. The lighting, costumes and sets are incredible, and really bring the scenes to life, with the change to a northern location being quite simply genius. The grit, graft and humour all fall into place perfectly.

As the curtain comes down on what has been a wonderful night of theatre, the audience are on their feet, giving rapturous applause that is most definitely deserved. I leave the theatre feeling proud to be Yorkshire, and looking forward to my next visit here.

‘A Christmas Carol’ is at Leeds Playhouse until 17 January
images: Helen Murray

Kirsty Masterman( Writer )

After studying English and Creative Writing at university, Kirsty started working as an editor for PA Media way back in 2003, joining On Yorkshire in 2023. With a passion for travel and writing, the chance to combine the two became a reality for her in 2010 when she was offered the chance to visit Portugal to review a new resort. Since then, she has never looked back. Live music, theatre and restaurant reviews followed enabling her to combine all her interests. Kirsty now travels the world, reviewing some of the best hotels, restaurants and travel destinations. She particularly enjoys seeking out child-friendly places so that she can showcase destinations and experiences that can be enjoyed by parents alongside their children. 

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