Stephen wrote the music and lyrics, to which I added the book. The production was designed especially for a small cast of adults and a large cast of primary school children, from twelve schools across the Diocese of Liverpool.
As well as scripting the show, I stepped in to play the part of the Narrator and the Spirit of Christmas Present, pictured.
The cathedral subsequently published the script as Scrooge: A Musical for Schools, with accompanying resources such as backing tracks, making it available to schools for future productions.
As an enthusiast for the original Dickens novel (see my article Dickensian Gothic) I had long wanted to adapt the festive tale, and I’m open to adapting A Christmas Carol again for theatre and other media. Just get in touch.
The year was 1843, and English literature had witnessed the zenith of early Gothic horror in Mary Shelley’s Frankenstein (1818). On the other side of the Atlantic, Edgar Allan Poe was reimagining the genre in such tales as The Fall of the House of Usher (1839) and The Tell-Tale Heart (1843). And in Britain, Charles Dickens was appropriating the Gothic tradition for his own stories; the conventions of the Gothic were to loom particularly large in late works such as Bleak House (1852) and Great Expectations (1860), but it was in a series of Christmas stories that he first explored the genre fully. The Chimes (1844), The Cricket on the Hearth (1845), The Battle of Life (1846) and The Haunted Man and the Ghost’s Bargain (1848) are now forgotten by popular culture, but the first, A Christmas Carol (1843), continues to be read by millions and has been the subject of dozens of film adaptations.