'A Christmas Carol' review — Paul Hilton is a revelatory Scrooge in this yuletide-rush, mega-hit production of Dickens’ tale

Read our review of A Christmas Carol, directed by Matthew Warchus, now in performances at the Old Vic to 10 January 2026.

Summary

• The Old Vic's acclaimed production of Charles Dickens' A Christmas Carol returns
• Jack Thorne adapts the classic tale and the magical staging is directed by Matthew Warchus
• Paul Hilton gives a brilliant interpretation of Ebeneezer Scrooge

The Old Vic's big, yuletide-rush, mega-hit production of Dickens’ A Christmas Carol remains the must-see show of the festive season, packing more Christmas spirit into its short, two-hour run than all its rivals combined. And the world has noticed: Matthew Warchus’s production of Jack Thorne’s adaptation has travelled to Broadway, Australia, and on a US tour.

This year marks its ninth consecutive run at the Old Vic, with Paul Hilton taking on the role of Scrooge. Even though I’ve seen it several times before, I still leave grinning from ear to ear and with tears in my eyes. Every year, it welcomes you back like a warm, familiar embrace.

That’s because Thorne’s utterly luminous, infectious writing wrings every last drop of joy from Dickens’ story. On entry, of course, you’re handed a mince pie. Would you expect anything less than endless carols and bell ringing? The second act is a three-course feast of festivity, featuring parachuting sprouts, strings of sausages passed through the audience, and several bursts of snowstorm that are sheer magic. Add to that a child brought up from the stalls to carry a titan-sized jelly, and you’ve got an extravaganza of Christmas delights.

All of this is thanks to the genius of designer Rob Howell, who somehow transforms the Old Vic’s classic architecture into a magical winter wonderland. For 2025, the stage has been reshaped from a cruciform walkway to a round centre, which delivers an even more intimate experience. When Bob Crachet (a trembling, big-hearted Rob Compton) encounters his icy boss Scrooge, we almost see the fear drip off him.

As for Ebeneezer himself, Hilton's interpretation is one of the best. Unlike some Scrooges that have gone before him, his redemption arc doesn’t always feel clear-cut. He begins as a grizzly grump, entirely resistant to the kindness of his nephew. When Jacob Marley smashes down his bedroom door, he almost shrugs at the possibility of a haunting. Greeted by the three ghosts – in this production dressed in patchwork pink dresses – he remains resistant right until the bitter end. “I will not feel guilty. I will not question myself. I am a great man,” he crackles, turning his back on the truth they’re trying to show him.

That’s a real skill because by now, of course, we all know the story. But Hilton’s revelation is layered with surprise. When he’s greeted by the little wonder Tiny Tim (an absolutely marvellous Hannah Slater on press night), he seems genuinely shocked that a person can be so kind.

There’s so much glee sewn into this production, it’s easy to overlook the darker side of Thorne’s writing. Poverty and its effects are ever-present, and Tim’s health is a constant worry for the Crachet family. When we’re asked to gift our own money to a homeless charity in buckets at the end of the show, we do so willingly; it would only be right after what we’ve seen.

In nine years, the sense of freshness of Warchus’s A Christmas Carol might have faded; we now know, for sure, it is one of the greats. But I’d defy anyone to find a show that makes them feel more merry, deep in their soul.

A Christmas Carol is at the Old Vic to 10 January 2026.

Photo credit: A Christmas Carol (Photos by Manuel Harlan)