James Swanton has more than Dickensian ghost stories on his Christmas plate as BBC appearance as bag of bones awaits

James Swanton: Ghost Stories for Christmas returns to York Medical Society

GOTHIC York York actor James Swanton is reviving his Dickensian Ghost Stories for Christmas trilogy at York Medical Society, Stonegate, from tomorrow.

Soon to appear in the BBC Christmas ghost story Lot No. 249 too, he will be presenting hour-long solo renditions of A Christmas Carol, The Chimes and The Haunted Man, before transferring to the Charles Dickens Museum, located at the author’s only London home to survive, 48 Doughty Street.

“I’m starting and finishing my run in York a little earlier than usual,” says James. “Mainly because there’s been such demand for the shows in London, 21 shows there from December 13 to 23, so the York run of ten feels fairly relaxed by comparison.

“York’s winding alleyways and tumbledown buildings are so beautifully suited to Dickens that it would have been inconceivable to strike it from my schedule. There really couldn’t be a more fitting venue than York Medical Society.

“Accordingly, I’ll be giving six performances of A Christmas Carol – you can never have too much of it, particularly with this year being its 180th anniversary – and two showings apiece of The Chimes and The Haunted Man, both lesser known but fascinating follow-ups.”

All three stories are richly rewarding, says James: “They brim with Dickens’s eye for capturing the weird, the strange and the odd, from human eccentricities to full-blown phantoms. Dickens’s anger at social injustice also aligns sharply with our own – and of course, there’s a lot to be angry about at the moment.

James Swanton in The Haunted Man. Picture: Alex Hyndman

“But beyond anything, these stories are masterful exercises in theatrical storytelling, with a real sense of joy emerging from the Victorian gloom.”

When did James first encounter A Christmas Carol? “I have a feeling that my first exposure was watching the rather exquisite Richard Williams animation from 1971, though I have no way of proving this. A particularly frightening Marley in that one,” he says. “The Muppet masterpiece won’t have been far behind. Two particularly musical Marleys in that one.”

Picking a favourite screen version of A Christmas Carol, James plumps for: “Alastair Sim’s Scrooge from 1951. The screenplay’s unusually sophisticated – and has the hubris to invent reams of credible Dickens! – but Sim himself is the reason it’s a cut above, because he was primarily a comic actor (and a comic actor of genius).

“It’s tempting to get an ageing Shakespearean titan to play Scrooge, but I think this misses the point of Scrooge, who’s hilarious even at his most wicked. He’s not King Lear – except to character actors!

“In more recent years, the one-man films starring Simon Callow and Jefferson Mays have thoroughly gripped me.”

Assessing why Dickens’s story still so popular after 180 Christmases, James says: “It’s that fool-proof structure that’s protected the material across constant (indeed, ongoing) reinterpretations. Provided you stick with the basic five acts – Past, Present and Yet To Come, as bordered by Scrooge’s before and after – you can play around with the details.

“York’s winding alleyways and tumbledown buildings are so beautifully suited to Dickens that it would have been inconceivable to strike it from my schedule,” says James Swanton. Picture: Jtu Photography

“For all their merits, both The Chimes and The Haunted Man lose their hold on the memory by this structure’s omission.”

Since last December’s run of Ghost Stories for Christmas, James has been hard at work on various filming jobs. “It’s been my year for Christmas ghost stories!” he says. “At the start of 2023, I made two short films, The Dead Of Winter and To Fire You Come At Last, that were indebted to the BBC’s legendary M. R. James adaptations from the 1970s.

“The Dead Of Winter was done in Farnham in January. I’m playing a rough sleeper who becomes a ghostly form of embodied conscience. To Fire You Come At Last was filmed in the wilds of Shropshire in March. I play an alcohol-ravaged wastrel who – along with three equally reluctant men – must  carry the coffin of the Squire’s son down the corpse road to the graveyard.

“It’s in black and white and feels like something out of [Samuel] Beckett; the best part I’ve had in years. Both films have been doing the festival rounds, and I know that at least one of them will be getting a physical release before too long.”

A few months ago, League Of Gentlemen alumnus Mark Gatiss asked James to play the ghost in Lot No. 249, his retelling of an Arthur Conan Doyle short story, as part of a cast led by Kit Harington and Freddie Fox.

Television viewers will see James as what the BBC press release calls a “horrifying bag of bones”.  Although the precise broadcast time is still to be announced, “this BBC Ghost Story for Christmas coincides very nicely with my ongoing commitment to Dickens’s slightly earlier Victorian Gothic,” says James. “Based on the past few years, I suspect it’ll go out on either December 23 or Christmas Eve itself.

James Swanton, left, and Mark Gattis rehearsing The Quatermass Experiment. Picture: Sonia Sanchez Lopez

“Obsessed with the Gothic as I am, it was a dream fulfilled to become a part of this great tradition. I’d just performed with Gatiss in a stage production of The Quatermass Experiment. He’s steeped in Conan Doyle, and his adaptation is at once gratifyingly faithful and wickedly surprising.

“I’m encased in particularly ghoulish make-up by Dave Elsey, who won the Oscar for The Wolfman. And I do the most dreadful things to Kit Harington! I’m tremendously excited about it all.”

James points out further opportunities to see him at work this Christmas.  “As well as Lot No. 249, my one-man film of The Haunted Man will be streamed by the Dickens Museum again on December 11,” he says. “And my on-and-off colleagues, the York Ghost Merchants, in Shambles, might have a few announcements of their own to come.”

More immediately, James has strategic advice for securing tickets for Ghost Stories for Christmas. “Early on is best. Most of my A Christmas Carol showings are crammed into the first week, and there are seats left for all of them,” he says.

“For reasons that remain unclear, November 30 has been a conspicuously slow seller, so I’ll be gladdened if people book for that! The second performances of both The Chimes and The Haunted Man have all but sold out (as of this moment, a single seat remains for each), but tickets can be procured for their first outings.

“With tickets being only £15 each, this could be the perfect way to kick off your festive celebrations. In any case, I look forward to gathering people together for some heart-warming storytelling:  traditional to the bones, but speaking to us just as powerfully as it did 180 years ago.”

What’s coming up for James in 2024? “So far, absolutely nothing!” he says. “My tendency has always been to develop pre-show rather than post-show blues, though, so I don’t find this too daunting. I’ll be glad of a slight rest, and perhaps a chance to read Victorian literature instead of act it.”

James Swanton presents Ghost Stories for Christmas at York Medical Society, Stonegate, York:  A Christmas Carol, November 27, 28 and 30, then December 1, 5 and 6; The Haunted Man, November 29 and December 7; The Chimes, December 4 and 11. All performances start at 7pm and last approximately one hour. Box office: 01904 623568 or www.yorktheatreroyal.co.uk.

James Swanton presents Dickens of a long run of Ghost Stories for Christmas in York, at London museum and around the country UPDATED with review 13/12/2022

“I’m rarely happier than at the authentically Dickensian location of York Medical Society,” says James Swanton

YORK horror actor and ghost storyteller James Swanton returns to his familiar haunt of York Medical Society from tomorrow (29/11/2022) with his most ambitious schedule of Charles Dickens stories.

This past Outstanding Performing Artist winner in the York Culture Awards is reviving Ghost Stories for Christmas, complementing 12 shows in York with 20 more around the country.

James’s hour-long solo renditions of A Christmas Carol, The Chimes and The Haunted Man will play select dates in York from the earlier-than-usual opening date of November 29 to December 20, as well as transferring to London’s Charles Dickens Museum in the run-up to Christmas.

“I’m delighted to once again be acting in my home city of York, and I’m rarely happier than at the authentically Dickensian location of York Medical Society on Stonegate,” says James.

“I’ve had a busy year on the film front, which means I’ve been variously transported to the Netherlands, Los Angeles, Serbia and Italy across the last 12 months. All very exciting, but Christmas is a time for home.”

James has never given more performances of A Christmas Carol than this year – eight alone in York! “I’m greatly looking forward to all of them, as they’re reliably cheerful experiences at what’s often the most stressful time of the year,” he says.

“However, the two lesser-known stories, The Chimes and The Haunted Man, are also very suited to our times. The Chimes is absolutely hilarious, yet it overbrims with anger at the injustices done to the least fortunate in society; The Haunted Man is a chilling supernatural tale but also a portrait of a man struggling with his mental health.

“These subjects have been much on our minds in recent years, and Dickens attacks them in a fashion that’s not only powerful but intensely hopeful.

“I look forward to gathering people together for an hour of truly heart-warming storytelling. God knows we need it,” says James

“A Christmas Carol, of course, is one of the greatest things ever written. I’ve found there’s little that’s more rewarding to perform as an actor. And there’s certainly no story that audiences are more eager to hear to the end.”

Despite the successful run of Ghost Stories for Christmas last December, James has not been seen on a York stage this year. “Although the world’s opening up and theatre’s getting back to normal, 2022 has been a year of film work – horror film work, specifically, which is what happens when you have a face like mine.”

As well as the Netherlands, Serbia and Italy, James was even whisked off to Los Angeles for “a mad couple of days”. “Annoyingly, most of these projects I’m not allowed to talk about yet – although I did make a feature film of The Haunted Man that streams through the Charles Dickens Museum’s website on December 4. So that’s a viable alternative for those who are still hesitant about attending live shows.”

As usual, the York run of Ghost Stories for Christmas is selling quickly, prompting James to offer strategic advice for securing tickets. “The best availability is at the start of the run, particularly the first few performances of A Christmas Carol and The Chimes in late November and early December,” he says.

“In defiance of the cost-of-living crisis, I’ve kept the ticket price exactly the same as when I last gave the shows. £14 a ticket is a snip these days, so if you’re looking for an activity for a large party, these ghost stories might be the perfect solution.

“In any case, I look forward to gathering people together for an hour of truly heart-warming storytelling. God knows we need it.”

James Swanton, Ghost Stories for Christmas, York Medical Society, Stonegate, York, November 29 to December 20. A Christmas Carol will be performed on November 29 and December 1, 5, 6, 7, 12, 19 and 20; The Haunted Man, November 30 and December 10; The Chimes, December 8 and 13.

All performances start at 7pm and last approximately one hour. Tickets: 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre Royal box office.

“I believe A Christmas Carol’s message rings out with as much urgency as it ever did,” says James

CharlesHutchPress asks the questions to dig out the stories behind York’s gothic storyteller supreme, James Swanton

Why does the York Medical Society so suit ghost-storytelling events, James?

“The building’s a properly ancient pile, festooned with dark wood panelling, open fireplaces, gilt-framed portraits and obscure implements in glass cases. It feels entirely plausible that it might host a ghost or two. 

“As I constantly point out, the site offers complete atmospheric immersion: approaching the front door by that tapered alleyway leading off Stonegate feels just like approaching Scrooge’s house on Christmas Eve. And let’s also remember that a former director of York Medical Society was a social acquaintance of Dickens.

“The building could scarcely be more magnificently haunted, so I was glad to see that my on-and-off collaborators at the York Ghost Merchants made use of it over Halloween.”

For those yet to see The Haunted Man, why should they do so?
“The Haunted Manis an overlooked Gothic chiller that often plays like a ghost-infused dress rehearsal for Dr Jekyll And Mr Hyde. The narrative is steeped in quintessential Victorian gloom yet also feels peculiarly modern, in that it explores its protagonist’s poor mental health.

“It’s all very dark and deep – the most difficult of the three pieces to act, but perhaps the most rewarding when it clicks. That said, there remain only three tickets for its York showings, so interested parties might be better off reserving places for the filmed version being streamed by the Dickens Museum on December 4.

Likewise, for those yet to see The Chimes, why should they do so?
“The Chimes is a remarkably strange riff on the Christmas Carolformula. The first half is a scathing social critique, at times less story than soapbox; then the second half plays out like a more demented take on It’s A Wonderful Life.

“The whole story comes thrillingly close to falling apart under the sheer weight of its own ideas, but Dickens manages (just) to keep it all together. There are goblins too: many, many goblins. The Victorians were fascinated by goblins – and I think we should be too!”

Given the bleak chill afflicting so many lives in 2022, with society more divided than ever, does A Christmas Carol strike you as being even more resonant this Christmas?

“I believe its message rings out with as much urgency as it ever did – though  perhaps ‘God Bless Us, Every One!’ now seems a little less fitting than ‘God Help Us, Every One!’.

“Scrooge has to go through hell to find redemption; if only our current ruling masters were forced to face a bit of the same,” says James

“The spectres of Ignorance and Want are obviously keenly felt at a time when an individual as grotesque as Matt Hancock can be forgiven his sins by simply appearing on television. (All that uncritical publicity for the measly appearance fee of £400,000).

“Scrooge has to go through hell to find redemption; if only our current ruling masters were forced to face a bit of the same. They never do, of course. Dickens would have heartily despised them – and no doubt pilloried them in his seasonal ghost stories. Merry Christmas.”

What has prompted you to do even more performances this winter in York and beyond?
“Essentially, I really enjoy doing them – provided my voice and limbs hold out! – and even though the earliest of the stories, A Christmas Carol, turns 180 in 2023, public demand for it seems to grow year on year.

“Even last Christmas, with so much Covid hesitancy surrounding live theatre, I was pleasantly surprised at how well the shows sold.”

What was the filming process for The Haunted Man that will be streamed through the Charles Dickens Museum. Was it a filmed version of your stage performance or were there new elements to it?

“Over the lockdown years, the Dickens Museum started to create these ingenious little streamed films, usually starring seasoned Dickensian actor Dominic Gerrard (his podcast Charles Dickens: A Brain On Fire is required listening for enthusiasts).

“I was keen to do the same with The Haunted Man as it’s one of the very few Dickens stories of any substantial length that’s never been filmed. The results are faithful to the stage version – it’s just me telling the tale, after all– but with lots of appealing bells and whistles: a magical coloured lighting palette, an ambient soundscape and a few low-key special effects, not least of which is everything being filmed within Dickens’s actual London house.

“I’m indebted to Jordan Evans-Hill at the Dickens Museum for pushing for it to be made and to Alex Hyndman for doing such a beautiful job on the filming and editing.

“It streams via Zoom at 7.30pm on Sunday, December 4, with tickets available on the Dickens Museum website. Here’s a handy link: https://dickensmuseum.com/blogs/all-events/the-haunted-man-virtual

“I want people to see the shows without being deterred by yet another price hike,” says James


You can’t say much about filming in the Netherlands, Serbia and Italy this year, or being whisked to LA for a mad couple of days, but can you say at least a little more about them?!!

“I really can’t! I’m in non-disclosure agreements up to my eyeballs! What I will divulge is that I’ve been playing two parts that provide a most vindicating extension on a part I’ve already played in York.

“Even within the demands of a 48-hour round-trip to Hollywood – quite the most preposterous thing that’s ever happened to me – I have therefore been honouring my northern heritage! And as a dyed-in-the-wool horror enthusiast, I was thrilled to be involved with these films in particular. Announcements and releases to follow in 2023, I hope.”

You have kept the Ghost Stories for Christmas ticket price at £14. Why, when everything else is going up?

“I want people to see the shows without being deterred by yet another price hike. It’s worth pointing out that Dickens took special measures to ensure that people in every income bracket could experience his public readings.

“He wasn’t always successful, what with ticket-scalpers being a crafty breed, so, in that respect, I’m fortunate not to be a global celebrity (one man was actually killed in a fight over a ticket to see Dickens).

“Given that the main thrust of A Christmas Carol is anyway to spread the wealth around, it struck me as self-sabotage to charge more at a time when things only appear (just like every year) to be getting worse.”

What’s in the pipeline for you in 2023?

“I have nothing planned other than complete nervous collapse. I continue to pray for Richard III, though I expect I’ll be weary enough come January that I’d only convince as the version lying peacefully beneath that car park in Leicester.”

Ghost Stories For Christmas, part two: James Swanton, York Medical Society, Stonegate, York, select dates from November 29 to December 20, 7pm

The Chimes they are a-clangin’ in James Swanton’s account a Charles Dickens novella

REVIEW: The Chimes, James Swanton’s Ghost Stories For Christmas, York Medical Society, Stonegate, York, 8/12/2022

YORK’S gothic ghost storyteller supreme and film actor to boot, James Swanton, is part way through his most ambitious Dickensian schedule yet, with 12 shows back home and around 20 more around the country, transferring to London’s Charles Dickens Museum in the run-up to Christmas.

Ghost Stories For Christmas is made up of Swanton’s hour-long solo renditions of A Christmas Carol (eight performances) and the lesser-known The Chimes and The Haunted Man (two nights each).

Tonight (13/12/2022) is the second chance to hearThe Chimes, subtitled A Goblin Story Of Some Bells That Rang An Old Year Out And A New Year In. In Swanton’s nutshell, the first half is like music hall, the second more like Frank Capra’s It’s A Wonderful Life, only more miserable.

Swanton, in immaculate Dickensian attire topped off by the most dapper of hats, greets you at the door, passing brief, apologetic comment on the non-Victorian scaffolding outside, but he is the master of atmosphere at the flick-off of a switch.

A single dim light picks out his face, sometimes enhanced by lamplight to emphasise his elongated features, his wide mouth, his narrow frame, gaunt pallor and impossibly long fingers. All this physicality goes into his storytelling, as important as his chameleon voice in creating character and tone as he spins Dickens’s tale with humour, intrigue, coloratura and just the right depth yet economy of detail.

First published in 1844 as the second in Dickens’s series of Christmas novellas, The Chimes was inspired by his year-long stay in Italy, and in particular by the clamour of the Genoese church bells.

At  the heart of the story is Trotty, an elderly messenger, and in no time Swanton has evoked myriad characters, from daughter Meg and fiancé Richard, to pompous Alderman Cute (your reviewer’s favourite) and ostentatious charity-dispensing MP Sir Joseph Bowley, poor countryman Will Fern and his orphaned niece Lilian.

In the church bell chamber, Trotty encounters the spirits of the bells and their goblin attendants, and here is where It’s A Wonderful Life comparisons fall into place as he is scalded for losing faith in man’s destiny to improve. So much more unfolds in a series of visions, portrayed so eloquently and ingeniously by Swanton in a night so chilling yet warming.

Ghost Stories For Christmas runs until December 20 on various dates. All performances start at 7pm and last approximately one hour. Tickets: 01904 623568, at yorktheatreroyal.co.uk or in person from the Theatre Royal box office.

James Swanton’s Dickensian Christmas ghost stories return to familiar haunt of York Medical Society. Tickets at a premium

James Swanton: “Old-fashioned storytelling in a suitably atmospheric space”. Picture: Jtu Photography

AFTER the silent nights of last December, York gothic actor supreme James Swanton is gleefully reviving his Ghost Stories For Christmas trilogy at York Medical Society, Stonegate, York.

“What an enormous relief it is to return to live theatre,” says this former winner of the Outstanding Performing Artist prize in the now dormant York Culture Awards as he prepares for his Dickensian yarn-spinning residency on various dates from December 2 to 13.

Once more, he will be the black-clad, spindle-fingered gatekeeper for all manner of supernatural terrors after memorising three hours of wintery material for his “seasonal roulette of three Dickensian tales”.

Ghost Stories For Christmas comprises James’s solo renditions of A Christmas Carol, The Chimes and The Haunted Man, returning to life anew in York before transferring to the Charles Dickens Museum, in Doughty Street, London, in the run-up to Christmas.

James’s past Dickensian theatre work has met with the approval of notable fellow thesps Simon Callow and Miriam Margolyes, the former describing his West End show Sikes & Nancy as “startling and enthralling”; the latter finding his 2017 performances at the Dickens Museum “extraordinary”, “superb” and “pictorially vivid”.

‘I’m delighted to finally be getting back to live theatre in my home city of York, where it’s hard to imagine a more authentically Dickensian location than the York Medical Society on Stonegate,” says James.

“This year, I’ve scheduled extra performances of A Christmas Carol: the perfect cheering antidote, I feel, to the misery we’ve all been through over the past few years.

“But the two lesser-known stories, The Chimes and The Haunted Man, are also very relevant to our times. The Chimes is absolutely hilarious, but also overbrims with anger at the injustices done to the most unfortunate in society. And The Haunted Man is not only a chilling supernatural tale, but a portrait of a man wrestling with his mental health. These subjects have been much on our minds through the pandemic.”

James judges A Christmas Carol to be “one of the greatest things ever written”. “I’ve found there’s nothing more satisfying to perform as an actor. And there’s no story that audiences are more eager to hear to the end,” he reasons.

As in 2018 and 2019, Ghost Stories For Christmas is selling quickly. “I was shocked 36 hours ago to find that we’d sold 80 per cent of the seats – I think because York Theatre Royal put us in their email newsletter – so I wouldn’t be surprised if we’re completely sold out in the next few days,” says James.

“I’m hoping – if I give the shows next year – to do them at fuller capacity over a longer period. We’re up to seven nights this year, but I wonder if we might build on even that when we get to (I hope) post-pandemic times. Perhaps a bigger venue is something to look into too.”

James Swanton presents Ghost Stories For Christmas, by Charles Dickens, at York Medical Society, Stonegate, York, December 2 to 13. A Christmas Carol: December 2, 3, 6, 7 and 13. The Haunted Man: December 4. The Chimes, December 9. All performances start at 7pm and last approximately one hour. To book, make haste to the York Theatre Royal box office, ring 01904 623568 or head online to yorktheatreroyal.co.uk.

“It’s ironic that the Victorian Christmas has come to stand for a fairytale vision of an idyllic past,” says James Swanton. Picture: Jtu Phoography

Ahead of his Dickens of a theatrical task in York, James Swanton answers CharlesHutchPress’s questions.

What form do your three shows take: a reading or rather more than that in each one-man show?

“I’m happy to say that these are fully fledged dramatisations rather than Jackanory-style readings. It is quite the Labour of Hercules: 180 minutes of text to memorise to cover the three one-hour readings! But it’s worth it to ensure these pieces are truly alive. My abridgements are closely based on Dickens’s own performance scripts, so their faith to their sources is absolute.”

Will you use a similar performance style for each tale?

“This is old-fashioned storytelling in a suitably atmospheric space. I’m hoping to use every physical and vocal trick in my repertoire to make the audience see Dickens’s pictures as clearly as I do myself.”

What are the storylines in The Chimes and The Haunted Man?

“Just like A Christmas Carol, these lesser-known works hinge on disenchanted older men who must encounter the supernatural to change for the better. The Chimes is the exuberant tale of a lowly ticket-porter who finds goblins squatting in the bells of his local church.

“Meanwhile, The Haunted Man is a Gothic chiller about a chemist who hatches a bargain with his ghostly double to remove all of his sorrowful memories.”

What have you been up to since you were last to be spotted on a York stage pre-Covid’s grim clasp?

“Continuing my supernatural association, I’ve just been back on a southern stage, thanks to the London Horror Festival, with a very delayed revival of Irving Undead – a production that of course originated at York Medical Society.

“I’ve maintained the home connection by livestreaming M. R. James and Dickens ghost stories with the wonderful York Ghost Merchants throughout the pandemic, from their premises on Shambles to a global audience.

“People would tune in from the most astonishingly far-flung places: various different states in America, Canada, Australia! It was touching to know that people were coming together to share a moment in the middle of the pandemic.’

“And I’ve bashed out horror film after horror film, including the phenomenally popular Host, in which I make the cameo of the century – to absolutely nobody’s surprise – as the demonic spirit who crashes the Zoom call. Business as (un)usual.”

How did you make the Zoom-set Host under Covid conditions?

“The actors shot it at home on their mobile phones during the first lockdown. I struggle to think of any other feature film that’s been partly shot in Acomb – never mind one that went on to reach a global audience.

“Stephen King said he enjoyed it, which was a bit of a thrill, and it was heralded by many critics as the defining horror film of 2020.”

Does the miserable impact of Covid-19’s lockdowns and its refusal to die a death gracefully put the telling of ghost stories in a different light this Christmas?

“I’m sure it does. These tales are all rather death-obsessed beneath their jollier garnishings, though perhaps it’ll make us more inclined to go to these stories for escapism now.

“We only have a very, very little time to get life right; to leave this world fractionally better than when we entered it,” says James Swanton. Picture: Jtu Photography

“It’s ironic that the Victorian Christmas has come to stand for a fairytale vision of an idyllic past. Dickens was under no such illusions: The Chimes is especially furious – an unhinged rant in places – though A Christmas Carol isn’t far behind.”

How will the theatre-going experience at York Medical Society differ from the 2019 production? Masks on? Social distancing? 

“To keep everyone safe in these uncertain times, it’s primarily been a matter of reducing capacity to give audiences that vital breathing space, so we’re on course for a sell-out much earlier than usual.

“The dividend is that this should guarantee an even more intimate and special experience for those who are able to secure a ticket. But they better rush!”

What makes York Medical Society such a good setting for your performances?

“It’s a building that feels properly immersive: travelling down that alley to the door with the knocker feels like an approach to Scrooge’s house on that fatal night when Jacob Marley’s face put in an appearance.

“I’ve also been pleased to discover that Henry Belcombe, the second president of York Medical Society, was a social acquaintance of Charles Dickens.”

Were you tempted to look at doing any new additions to your Dickens’ Christmas repertoire? Might that happen in future?

“I think the present three work rather well in concert, each one shedding light on the others. Dickens’s other Christmas books can be terribly twee; I did all five at the Dickens Museum in 2017, and Michael Slater (our foremost Dickens scholar) came to The Battle Of Life on the basis that he couldn’t believe anyone had been mad enough to attempt it.

“Of Dickens’s spookier stories, I last year had a crack at The Signal-Man with the York Ghost Merchants – but a less Christmassy tale can hardly be imagined!”

As a performer, what changes when you revisit material you have performed previously? Do you tweak the text at all?

“The material changes as I change; little details leap out or recede every year. For instance, I’ve this time been struck by how Scrooge, like almost all people who pride themselves on ice-cold rationality, turns out to be a being of emotion beyond anything. He bursts into tears at the drop of a hat throughout his story.

“More practically, the text of The Haunted Man has been in a state of flux from the word go. It’s the only one of the three that Dickens didn’t perform himself – he started preparing a script before abandoning it – so I’m determined to one day crack it.”

What can we learn as a modern society from social reformist Dickens’s ideal of a good Christmas?

“Focus on your family. The Christmas dinner served up by the Cratchits is impoverished indeed, but their delight in each other’s company makes it into a feast. 

“But Dickens also means us to acknowledge the entire human family. We are all of us connected and we only have a very, very little time to get life right; to leave this world fractionally better than when we entered it.”