Review: A CHRISTMAS CAROL, Reading Rep Theatre

There's something rather wonderful about a theatre company that takes a universally beloved story and makes it unmistakably their own. Beth Flintoff's adaptation of A Christmas Carol, which relocates Dickens' tale of redemption to the Huntley & Palmers biscuit factory, is precisely that – a production steeped in Reading's industrial heritage, yet brimming with the timeless spirit of its source material.

Under Chris Cuming's assured direction, this staging makes excellent use of the intimate space. The opening sequence is particularly sweet – I shan't spoil it, but it sets the tone beautifully, balancing simplicity with gentle humour and drawing the audience into what promises to be a warm evening. Cuming's use of height and the full dimensions of the stage keeps the eye engaged throughout, and the production feels perfectly scaled for the venue.

NICKY BUNCH's set design deserves particular praise. There are discoveries to be made if you look closely – for instance, Dickens' text adorns the backdrop, which is a lovely touch that reveals itself gradually. The costumes, supervised by Tabitha Stock, are equally impressive: the traditional carollers' attire at the opening and the Ghost of Christmas Present's vibrant ensemble are standouts. Aaron J Dootson's lighting design complements everything beautifully, painting the stage in festive hues while navigating the story's shifts from warmth to shadow with skill. Joe Dines provides crisp, clear sound design, and Sam Amestoy's original music weaves through the production, grounding it further in its sense of place.

The ensemble cast work hard across multiple roles, and several performances shine particularly bright. Mark Desebrock, playing Hopkins, Fezziwig, Palmer Senior and the Ghost of Christmas Present, proves a genuine highlight – his energy is infectious and his comic timing impeccable. His Fezziwig brings such joy to the party scene, while his Ghost of Christmas Present radiates warmth and mischief in equal measure.

Charlotte Warner matches him beat for beat as Bobbie Cratchit and the Ghost of Christmas Past. Her ability to switch between characters is impressive, each distinctly drawn and full of life. The adaptation's decision to gender-swap Bob Cratchit – now Bobbie, daughter of Belle – adds unexpected emotional layers, and Warner handles the dual demands of working mother and ethereal spirit with equal conviction.

George Eggay brings strong physicality to Scrooge, and his transformation from miser to redeemed man is convincingly charted. Orla O'Sullivan brings warmth to Belle, while Sam Amestoy juggles Fred, Young Scrooge and Alfred Palmer with charm. A particular nod to Ned Woollatt, who played Tiny Tim on the night I attended – a confident professional debut with a lovely singing voice. Eli Murphy and Emily Maclellan share the role at other performances.

Flintoff's script is peppered with fun, local references – the dismal Coley where young Scrooge was raised, the rhythm of factory life, the nods to Reading's biscuity heritage – that clearly land with the hometown audience. Meanwhile, the highlight for me was the Marley apparition, which is genuinely haunting and delivers a proper chill.

If the production has one weakness, it's in the pacing of Scrooge's awakening. The transition from the harrowing vision of his possible fate to his joyful redemption feels slightly rushed, so one of the story's most powerful moments could benefit from a little more breathing room to let the emotional impact fully land.

But this is a minor quibble in what is otherwise a thoroughly polished, warm-hearted piece of festive theatre. Reading Rep has built something special: a Christmas show that honours Dickens while celebrating local identity, wrapped in production values that punch well above what you might expect from a regional theatre. For families within reach of Reading, this is exactly the kind of treat the season calls for – mulled wine in hand, hearts ready to be warmed.