Erin Harrington reviews A Christmas Carol, presented by Many Hats Theatre Company and devised by the cast, Saturday 2 December 2023.
Community support organisation Skillwise does exceptional work with people with disabilities and their whānau. One of their many creative initiatives is the innovative and inclusive Many Hats Theatre Company, which provides performance opportunities for people with intellectual and learning disabilities, as well as (more recently) other forms of disability. The company is now in its tenth year; I’ve written about one of their past projects, the excellent performance documentary The Addams, here.
This year’s terrific production is a take on A Christmas Carol, devised and reimagined by the company: Michael Finnerty, Peter Rees, Paige Freeman, Benjamin Morris, Ashleigh Smith, Hannah Proctor, Merna Fam, and Jillian Vicary. The show is the result of a year’s worth of workshopping, followed by an intense two-week period of devising and rehearsal. It’s a funny and evocative production that communicates the heart of Dickens’ classic ghost story while honouring many elements of the text; there’s some great script work. It also takes us in unexpected, entertaining directions.
We start (as we must!) with the book’s famous opening lines, the reminder that Ebenezer Scrooge’s old business partner “Marley was dead: to begin with”. It’s delivered by not one but two top-hatted Dickenses – because (we are told) it’s going to be “that type of show”. The 45-minute production sticks closely to the structure of Dickens’ text, distilling the essence of the story and action, all presented through creative staging and strong, angular blocking. We have chain-rattling ghosts, eerie visitations, and a cast of variously kind and needy townspeople, united in their distaste for Scrooge’s lack of human spirit. There are also some notable pop-cultural diversions. Once he’s warned of the night to come, an angry Scrooge comes out in full Ghostbusters kit, ready to face the spirits’ visitation. We go time-travelling with the Time Lords of Christmas past (complete with sonic screwdriver). In Christmas yet-to-come Mulder and Scully bounce light off the disco ball, scanning the room for signs of Scrooge’s existence and legacy. We end with a 90s banger (why not?) and so much applause that I wish the cast had come out for a second bow.
The company is consistently strong throughout, presenting characters with generosity, confidence, and a fair whack of charm. Michael Finnerty in particular is authoritative as Scrooge. He anchors the production, ably expressing the character’s journey from cat-kicking, turkey-hating cruelty to warm-hearted kindness. It’s an impressive performance.
The production is beautifully designed. Skillwise’s on-site black box theatre is dressed simply but elegantly with Victorian-era household items. We begin a single naked lightbulb illuminating the stage in a sparse and fitting expression of Scrooge’s parsimony. From there, an atmospheric, dramatic lighting design carves out space and enriches theme. Clever sound design (which also supports some solid gags), innovative staging, and simple but effective costuming, built over branded Many Hats blacks, complete a strong overall package that has a clear dramaturgical vision.
The company and their collaborators (including Paul McCaffery, Sarah Elsworth, Stuart Lloyd-Harris, Cassie White, and Skillwise staff) need to be commended on their achievement. It can be hard to find out about these sorts of events if you’re not already looped into organisations and communities, but I strongly recommended getting on mailing lists and liking whatever social media need needs liking so that you don’t miss future iterations of this company’s impactful, big-hearted work.
A Christmas Carol ran at Skillwise HQ from 29 November – 2 December 2023. Photos from workshops, rehearsals and performances are available here – click through to ‘performance group’.
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