The Royal Court’s reputation for Scouserfying a classic tale for their annual Christmas show precedes them, and this year’s outing of an adapted A Christmas Carol is no different. On paper, you have a more-than-qualified creative team- written by the Court’s executive producer, Kevin Fearon, directed by panto veteran Mark Chatterton, and some of the best local talent on stage. But for some reason, the cogs don’t always align in this safe production of The Scouse Christmas Carol. 

 For those unaccustomed to what the Court can truly offer, or those attending for a merry and bright evening, you will not leave disappointed. However, critically, the book occasionally lacks the usual insane yet fluid narrative, leaving plot holes in the unnecessary sub-plots and cramming songs in for no reason, resulting in a lengthy run time. 

The cast, as mentioned, are some of the best the area has to offer, and each make their role- or roles, in the case of the iconic and hilarious Keddy Sutton- their own. Powerhouse vocals and comedic performances carry the show with standout moments from Lindzi Germain singing Adele (who had that on their bucket list?), Helen Carter being her usual class-act, Adam McCoy bringing gusto and charm, and Sutton’s characterisation raising the roof with her snappy one-liners. 

 So why does it not quite hit the high bar that the Court can, and often does, hit- most recently with their ‘summer Christmas show’, The Legend of Rooney’s Ring? Naturally, there are new characters in the adaptation, one being Clara, the niece of the Scratchitts and played by the talented Jhanaica van Mook. But other than her fabulous stage presence, the character adds nothing to the narrative other than a subplot involving Talacre and a string telephone that gets a small chuckle from the audience. This is the same with references to Emily Scratchitt’s inventions: nothing comes to fruition. A Christmas Carol already has enough material; sub-plots that go nowhere seem unnecessary. Combined with musical numbers that, although impeccably arranged and performed, are the definition of “shoehorned”, not being led into or even introduced by the dialogue, it can feel slightly tedious. There is also the perfect opportunity to adapt the songs further to support the narrative- this is sometimes tapped into, but it sadly lacks for the most part.  

Other creative choices, however, are a triumph. Ellie Light’s impressive set design showcases the theatre’s revolve perfectly, while her costumes- especially those Germain dons in Act 2- are a spectacle on their own. Lighting design from Ian Scott and Kate Harvey’s sound design bring it all together to give the average theatregoer exactly what they’ve paid for. 

So, while it may not be a critical smash compared to the ghosts of Christmas past, there is certainly something for everyone to enjoy; and witnessing the insanely talented and hilarious cast on stage is worth the cost of the ticket price alone. 

The Scouse Christmas Carol plays until Saturday 17th January 2026. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD