From Dickens to Disaster: A Christmas Carol Goes Wrong Delivers Festive Perfection
Written by Katie Barr
Last night at the Theatre Royal Nottingham, Christmas Carol Goes Wrong delivered an uproarious festival spectacle that had me, and the entire audience, laughing from the very first moment until the final curtain call. If there’s one thing this ingenious show proves, it’s that there really is a fine line between brilliantly funny and just too much in comedy. And this production didn’t just walked that line, it danced across it with joyous, mischievous flair.
From the opening beat, it’s clear that their signature chaos is at the heart of the show, yet here it feels even more refined and endearing than ever before. The premise is deliciously simplest: the hapless Cornley Amateur Drama Society attempts to stage Dickens A Christmas Carol, only for virtually everything that can go wrong, to go wrong. But what unfolds is the kind of controlled havoc that leaves you clutching your sides with laughter rather than wincing in frustration. The evening begins not with a traditional Victorian tableau, but in an audition room, where director and lead actor Chris Bean is desperately trying to track down an actor worthy of portraying Scrooge. As the chaos bubbles up before the ‘real’ performance has even begun – bumbling actors, misplaced props and wild confidence – you already know you’re in for something unforgettable. What makes this production so irresistible is the ensemble’s meticulous understanding of comic timing and theatrical wreckage.
“…what unfolds is the kind of controlled havoc that leaves you clutching your sides with laughter rather than wincing in frustration.”
Daniel Fraser’s earnest, straight-faced portrayal of Chris forms the perfect backbone for the humour; his growing exasperation at every mishap transforms him into both an anchor and a lightening rod for laughs. Meanwhile Henry Lewis, as Robert, gives a standout performance that perfectly blends comedy with a warm theatrical heart. His commitment to the role, even amid spiralling bedlam, is nothing short of brilliant. Jonathan Sayer as Dennis is a joy, so clueless and charmingly bewildered that every time he ambles about searching for his lines, the laughter ripples through the auditorium. His commitment to the bit is a testament to the cast’s complete immersion in the show’s delightfully fraught world. And then there’s Matt Cavendish as Max, who relishes every opportunity to flex his range across multiple roles, bringing boundless energy and a gleeful sense of theatrical mischief.
Chris Leask’s Trevor, with his gruff attitude and gloriously over-the-top Ghost of Christmas Yet to Come, delivers moments of sheer physical comedy that had entire rows roaring. Add to this Siobhan Cha Cha and Ashely Tucker, whose portrayals add balance, warmth and even more mirthful madness to the proceedings, the chemistry of this cast is nothing short of electric. Underneath all the staged crashes, wild mishaps, and perfect pratfalls, however, is a genuine love of theatre that lifts the whole show beyond a mere slapstick. There’s a sense of theatrical community shining through every faux pas, a warmth that draws the audience into the joke so completely that you feel part of the action rather than just watching from the stalls. The production values are also worth heralding. Libby Todd’s set design creates an inviting and intricate stage that feels like a playground for whatever disaster the Cornley company has in mind, and David Howe’s lighting ensures each gag and spectacle lands with dazzling effect. The period costumes by Roberto Surace are both faithful to Dickensian charm and lovingly ridiculous, enhancing every character’s comic potential.
“In a genre that’s so easy to overdo, this show strikes exactly the right balance: relentless in its comedy but never overwhelming.”
The humour here is broad – physical, verbal, absurd – but it’s also sharp, smart, and executed with precision. There are plenty of moments where you think you’ve seen the gag coming, only for the performers to twist it into something even more unexpected and hilarious. In a genre that’s so easy to overdo, this show strikes exactly the right balance: relentless in its comedy but never overwhelming. That sweet spot is a rare achievement and one that A Christmas Carol Goes Wrong hits with confidence and joy. By the time the final bows were taken, the standing ovation was not just well-earned, it was wholehearted. This production reminded everyone in that theatre why live comedy is such a treasured experience – unpredictable, joyous, and best enjoyed in the company of fellow comedy enthusiasts. In short, you need to see it while you can, I can assure you will be laughing long after you’ve left the theatre. The show remains at Nottingham’s Theatre Royal through to Saturday 31 January 2026. Performances are currently fully booked, but last-minute ticket releases are always worth watching for.
All content is original to The Literary Lounge.
In-article images credited to Matt Crockett. No changes were made to these images.
Featured Image credited to Matt Crockett.
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