As an NSTA representative, I was delighted to attend Marlborough Science Academy’s production of A Christmas Carol: Belle Evercroft on 12 December 2025. This ambitious and wholly original musical, written in school by Mr Griggs in collaboration with the company, with musical arrangements by Mr Felkers, offered a fresh perspective on Dickens’ classic story. Under Mr Griggs’ assured direction, supported by Mrs Griggs and Mrs Day, the inventive choreography of Miss Fox and Miss Carson, and Mr Felkers’ accomplished musical direction, the audience was treated to a confident ensemble performance that both honoured and re-examined Dickens’ characters.
The simplicity of the set design allowed the action to flow seamlessly across time and place, while fully showcasing the work of lighting designer Seamus. The atmosphere was established even before the first scene, with on-stage candles and back-lit windows immediately evoking the chill of a ghost story. The use of lit gauze during Scrooge and Belle’s separation added intrigue and emotional depth, while thoughtful lighting choices throughout – cool blues for the past, warm tones for the present, and striking backlighting for Belle’s final song – demonstrated a sophisticated understanding of storytelling through design. Particularly effective were the flashes integrated into the soundscape of Belle’s life, heightening moments of tension and revelation. Seamus demonstrated a profound understanding of how lighting can elevate the overall production.
The opening scene between Timothy, Lucy and Charles Dickens – played with warmth and humour by Shaf, Olivia and Jacques – successfully drew the audience in. Shaf and Olivia created a believable and well-observed parent-child dynamic, while all three performers demonstrated exemplary projection and clarity. This high standard of vocal delivery was sustained impressively throughout the production. From this naturalistic opening, the production shifted into a compelling soundscape of Belle’s life, using striking physical theatre as shadowy figures whispered ‘Ebenezer Scrooge’. This interplay of theatrical styles became a defining strength of the piece, maintaining visual interest while deepening the narrative.
At the heart of this production was a dedicated and cohesive ensemble. Their collaborative spirit was evident in the creation of an intimidating boarding school, a vibrant Fezziwig party – complete with an exceptional banjo performance – and a joyful Christmas morning. The movement sequences depicting Belle’s transitions between realms were particularly mesmerising, showcasing both the cast’s unity and Miss Fox’s imaginative choreography. Special praise must also go to the student band, led by Mr Felkers, whose versatility across musical styles and high-quality live accompaniment elevated the entire production.
Charlotte delivered a confident and assured performance as Belle, portraying her as a strong and resilient figure and handling her solo numbers with authority. Florence’s Fantom provided a powerful counterpoint, and the chemistry between the two performers was palpable. As noted in the director’s vision, the focus on amplifying female voices within this retelling was both clear and effective.
Ayman’s Present was bold and charismatic, feeling as though he had stepped directly from the pages of Dickens’ novella – a testament to detailed character research. Fay offered a sensitive and vocally beautiful portrayal of Past, while the audience were also treated to a passionate solo from Anjali as Young Scrooge. Rose gave a wonderful performance as Mrs Cratchit, impressing with her ability to find the light and shade of this character.
Milo infused Marley with wit and spontaneity, delivering a performance that felt thrillingly alive and responsive, and which stood out as one of the production’s highlights. Matilda’s Scrooge was equally impressive: a nuanced and compelling portrayal, marked by a fragile physicality and a deliberately gruff vocal quality that served the character with precision. The maturity and control of this performance were clear evidence of an exceptionally talented actress.
This was a true ensemble piece, marked by shared ownership of the original production. The performers’ commitment was palpable, not only through the well-judged contemporary references that drew laughter from the audience, but through their thoughtful engagement with the moral questions at the heart of Dickens’ story. There was not a tentative moment on stage: every performer made bold, confident choices, resulting in a production that was inventive, assured and deeply engaging. Like the ghosts of Christmas Past, Present and Yet to Come, this production lingered long after the final curtain, offering a festive reminder that powerful theatre has the ability to haunt, warm and transform us in equal measure.
National School Theatre Awards
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