This festive season, two distinct theatrical productions are capturing the imaginations of British audiences, offering powerful explorations of family, morality, and tradition. In Stratford-upon-Avon, a lean and intense adaptation of a classic Victorian saga unfolds, while in Sheffield, a beloved Dickens tale is infused with unique local heritage.
A Greek Tragedy in Victorian Garb
At the Swan Theatre in Stratford-upon-Avon, John Galsworthy's monumental The Forsyte Saga has been masterfully distilled by adaptors Lin Coghlan and Shaun McKenna. The production, directed by Josh Roche, answers the central question posed by the modern Fleur Forsyte—'What is it to be a Forsyte?'—with the savage intensity of a Greek tragedy.
The stage is strikingly bare, featuring only red curtains, a red carpet, and a handful of chairs, ensuring the focus remains squarely on the expert performances and the suffocating world of the Forsyte family. The costumes immediately transport the audience to an era where women, constrained in corsets, were legally the property of their rigidly respectable husbands.
The core conflict ignites when Irene, the exquisite and trapped first wife of the deeply complex Soames Forsyte, falls passionately in love with Philip Bosinney, the architect hired to build their country home. Joseph Millson delivers a superb performance as Soames, a man both hateful and pitiable, whose sense of ownership leads to devastating consequences. Fiona Hampton is equally compelling as Irene, her restrained performance speaking volumes.
The drama leaps through time via hot and cold lighting by Alex Musgrave and an ever-changing soundscape from Max Pappenheim. The second part of the saga intriguingly follows the next generation, as Soames's entitled daughter Fleur, played with precision by Flora Spencer-Longhurst, sets her sights on Irene's son, Jon. This is enthralling, essential theatre where every second truly counts. The production runs at the Swan Theatre until January 10.
A Carol Reborn in Sheffield's Pubs
Meanwhile, at the Crucible Theatre in Sheffield, director Elin Schofield has cooked up a special version of Charles Dickens's A Christmas Carol. While the story of Ebenezer Scrooge's redemption remains faithfully intact in Aisha Khan's adaptation, it is seasoned with a distinctive local ingredient: the famous Sheffield Carols.
This tradition has its roots in defiance; when carols were banned from churches, the people of Sheffield simply took them into the ale houses and made them their own. These carols, with their earthy warmth and sacred mirth, are deftly woven into the narrative. Matthew Malone's marvellous arrangements, from the full-bodied 'Hail Smiling Morn' to the atmospheric, wordless 'Sweet Chiming Bells', enrich the beautifully staged production.
Ian Midlane plays a cuddly Scrooge whose inner Father Christmas seems desperate to escape from the very start. His journey is guided by the spirits, revealing how a unloved boy became a miserly man, culminating in a panic-stricken encounter with a chilling, mute Ghost of Christmas Future. His transformation is joyous and instantaneous, leading to a festive finale with the entire community on song.
This is a heartwarming production that cleverly connects a global classic with proud regional history, creating a uniquely Sheffield-made theatrical experience. This interpretation of A Christmas Carol continues at the Sheffield Crucible until January 10.
Two Sides of the Festive Season
Together, these productions showcase the vibrant diversity of British theatre. One offers a stark, psychological dissection of Victorian property and passion under Josh Roche's highly-charged direction. The other provides a communal, heartwarming celebration of local culture and redemption. Whether you seek the gripping drama of familial strife or the uplifting joy of seasonal goodwill, the stage this December has a compelling answer.
