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*Adam Bassett’s Bob Cratchit, Emma Prendergast’s Mrs Cratchit and the Cratchit children in the Christmas spirit in Hull Truck Theatre’s A Christmas Carol*

DEBORAH McAndrew’s wondrous, thunderous adaptation of Charles Dickens’s 1843 novella was first seen as part of Hull Truck’s 2017 Year of Exceptional Drama for Hull’s year as the UK’s City of Culture.

“Exceptional drama”? As brags go, it might have been up there with Liverpool lip Ian McCulloch proclaiming Echo & The Bunnymen’s 1984 opus Ocean Rain to be “the greatest record ever made”… before it even came out, but A Christmas Carol backed up that braggadocio.

It was indeed “exceptional”, going on to play West Yorkshire Playhouse the next winter, again under Amy Leach’s direction, and subsequently re-emerging like Marley’s ghost each winter in a variety of versions.

*Deborah McAndrew: Playwright with the magic touch*

When it came to artistic director Mark Babych contemplating Hull Truck’s 50^th anniversary season, in his words, “it felt the perfect opportunity in a year of examining our past, present and future to combine the many different elements that evolved over the years to make this production”.

A Christmas Carol is duly revisited, in association with Leeds Playhouse, retaining McAndrew’s gilded script, Hayley Grindle’s set and costume design, Josh Carr’s lighting, Ed Clarke’s sound design and musical director John Biddle’s evocative music. Northern Broadsides stalwart Andrew Whitehead returns too as chain-rattling deceased business partner Jacob Marley and party-hosting Mr Fezziwig.

Sameena Hussain, associate director at Leeds Playhouse, takes over the director’s seat from Leach, having served as her associate on the Leeds production.

*Emma Prendergast’s Mrs Cratchit, left, Adam Bassett’s Bob Cratchit, right, and Hull Truck Young Company cast members using British Sign Language in A Christmas Carol*

She retains much of what made Leach-McAndrew’s exhilaratingly imaginative collaboration so spooky, humorous and magical, while adding two new elements: movement direction by Xolani Crabtree, at once full of vitality but haunting too, and British Sign Language, both within the cast and in the omnipresence of a BSL signer in Dickensian attire. Providing another layer of language, it is impactful physically, theatrically and emotionally too.

Hull-born Adam Bassett, who appeared as Macduff in Leeds Playhouse’s Macbeth earlier this year, plays Scrooge’s put-upon clerk, Bob Cratchit, while fellow deaf actor Emma Prendergast’s Mrs Cratchit communicates in both BSL and spoken English.

Prendergast’s is the strongest Hull accent in this staging on the Hull dockside, whose atmosphere is set before the start and at the interval with the sound of lapping water and gulls, together with the Yorkshire catmint of brass-band carols.

*Hayley Grindle’s Hull quayside for A Christmas Carol*

Prompted by the Victorian warehouses still to be found around the East Riding city, McAndrew’s “uniquely Hull twist” to Dickens’s winter tale of second chances has transformed Ebenezer Scrooge (Jack Lord) into the money-counting owner of one such large dockside building. Sea shanties pepper Biddle’s score too.

As in 2017, Grindle’s highly detailed yet spacious set of the warehouse’s brick frontage, the dock bell, the ropes and sacks of the quayside, and fish crates stacked up for Scrooge and Cratchit’s desks, are complemented by Carr’s lighting, with a golden glow in the frosty windows and row upon row of candles that play to the air of ghostliness.

In the bleak, strike-struck midwinter of 2022, Babych’s highlighting of Dickens’s “comment on poverty, social deprivation, and the importance of giving people the opportunity to thrive” has resonance anew, and so this revival is even more moving, as well as being a delightfully musical and beautifully told piece of family theatre.

*Tempus fugit for Jack Lord’s Ebenezer Scrooge*

In a Hull divided between the haves and the have nothings, McAndrew’s urban nocturnal drama nods to the tradition of Victorian storytelling, full of richly evocative language that heightens scenes of sadness – never more so than in the young Scrooge’s (Mark Donald) terminated engagement to Belle (Prendergast) – yet it is theatrically bold too.

Scenes with the ghosts are presented with a magician’s flourish, Gothic frights and even the dark heart of the Grand Guignol, typified by Whitehead’s Marley amid graveyard ghosts galore.

Yet these ghosts can be playful too, especially when surrounding Scrooge in his nightgown, removing his night cap. Once he takes his first steps on the road to redemption, as Lord’s miserable miser swaps that cap symbolically for a Santa hat, his desire to learn, to make amends, is more immediately transformative than in some interpretations.

*Lisa Howard’s Ghost of Christmas Present: Evoking music-hall acts*

Nothing is more unconventional in McAndrew’s reinvention than the Ghost of Christmas Present (Lisa Howard) becoming a dapper circus act-cum-music hall turn, possessed of a line in Christmas gags cornier than a cracker punchline. Howard evokes the Good Old Days stars of yore at Leeds City Varieties yet captures the grave need to crack on too in an elegant, eloquent production that moves ever more briskly against the tides of time.

Welcome back Hull Truck’s A Christmas Carol, the most popular of Christmas ghost stories, told even better than before.

A Christmas Carol runs at Hull Truck Theatre until December 31. Performances: December 22, 23, 28, 29 and 30, 2pm and 7pm; December 24 and 31, 11am and 4pm. Low availability for all shows. Box office: 01482 323638 or hulltruck.co.uk.

Did you know?

YORK playwright Mike Kenny is writing the script for Hull Truck Theatre’s 2023 family Christmas production, Pinocchio, as well as co-writing the lyrics with composer and musical director John Biddle. Tickets will go on sale next March. Watch this space for more details.

Caitlin Townend and Martha Godber in rehearsal for Moby Dick at the former Hull dry dock. Picture: Antony Robling

Moby Dick, John Godber Company, Stage @TheDock, Hull, until Saturday, 7pm and 4pm Saturday matinee. Box office: Eventbrite via thejohngodbercompany.co.uk

HULL was once among the world’s busiest whaling ports. At its peak, 68 whaling ships were registered to the East Riding dock and whale-processing oil and blubber factories spread over the Greenland yards on the River Hull.

In the wake of the Industrial Revolution, Hull had as many theatres as any city, and sometimes the stench from the factories’ pots of boiling blubber was so malodorous, theatres had to cancel performances as the pong was so overpowering.

The processing plants and ships have gone, the docks and Fruit Market have undergone a new industrial revolution, now housing solicitors’ offices, digital spaces, bars and restaurants and a gallery, under a vision realised by the Wykeland Group, triggered in part by Hull’s year as UK City of Culture in 2017.

In the shadow of The Deep visitor attraction, Stage@TheDock took over the shell of the central Hull dry dock at that time, and now John Godber, who has done so much to keep theatre open, alive and kicking in Hull, brings whaling, theatre and the amphitheatre together with support from Wykeland and an Arts Council England grant from the Culture Recovery Fund.

John Godber and The Whalers: The co-writer and director in rehearsal at Hull dry dock for Moby Dick. Picture: Antony Robling

The John Godber Company’s Moby Dick is billed as a “new radical adaptation” of Herman Melville’s epic 1851 American novel. More precisely, it is a radical reworking of Godber and co-writer Nick Lane’s original, no less radical script for Hull Truck Theatre in 2002, a revision/reinvention that Godber describes as “filleted, better and topical”.

The first version was told by four old soaks in a bar on its own last orders; this time, an East Yorkshire professional cast plays eight modern-day characters, each with a relationship with this part of Hull through their parents or grandparents, whose stories they recount as the play dips in and out of the novel’s Godber-gutted story, like a ship’s passage through waves.

2002’s four-hander – “What were we thinking?! Four! It was almost impossible,” recalls Godber – was different in other ways: staged indoors at the old, compact, 150-seat Hull Truck. 2021’s John Godber and The Whalers’ show fits Step 3 times: a 70-minute performance with no interval, staged outdoors to a socially distanced audience, spread out over seating reduced in capacity from 350 to just shy of 90.

Covid-safety measures prevail too: staff in masks, tick; hand sanitiser, tick; surface cleaning, tick; cast Covid-testing regularly and staying together in a B&B social bubble, tick.

*MayTether’s Lily in the John Godber Company’s Moby Dick. Picture: Antony Robling*

Within the cavernous dock’s stone walling is the wooden-floored stage that here becomes the deck of Captain Ahab’s ship, the Pequod, in his catastrophic, deranged, self-destructive battle with the monstrous white whale, Moby Dick.

Props are wooden too in the form of myriad pallets for constant rearrangement into different shapes to evoke, for example, the bow and to create a percussive sound when thrown down or knocked over. A rudimentary ship’s wheel is ever present and loose pieces of wood serve as harpoons. The bike ridden by Martha Godber’s impassioned narrator, Lucy, is the one concession to modernity.

Given the 7pm start, no lighting or special effect is needed for a back-to-basics yet epic production that, in Godber tradition, is driven by storytelling, physical theatre and teamwork (or should that be crew work?) as much as by individual performance.

This remains a dry dock in every way, no water to be seen throughout, and yet this Moby Dick still conjures the dangers, the rhythms, the vastness, of the sea through the cast’s movement and sound effects.

*Blue-eyed soul searching: Frazer Hammill as Frank/Captain Ahab in Moby Dick. Picture: Antony Robling*

Sea shanties pepper the performance too, not least the newly ubiquitous chart-topper Wellerman, and it will come as no surprise to devotees of York Stage that Goole-born May Tether’s singing stands out.

Frazer Hammill’s Captain Ahab has the air of the blue-eyed cult-leader about him, a law unto himself that no-one dares to stop. Madness, misadventure and death this way lies in a tale as grave as an obsessive Greek tragedy.

Moby Dick finds Godber, who scripted the revised version after discussions with Lane, far removed from the agitated humour of many of his plays.

Instead, in a collective year in the shadow of an elusive enemy, devastating disease, mental anguish, constant uncertainty and ever greater division, there is no bigger fish to fry than a story of timeless human failings in command, set against the context of a modern-day discourse on Hull’s global importance as a port, its whaling past and the rising need for conservation.

Come Hull or high water, you will have a wail, rather than a whale, of a time as the Godber harpoon hits home hard.

Tag: UK City of Culture

REVIEW: A Christmas Carol, Hull Truck Theatre, until December 31 *****

REVIEW: John Godber Company in Moby Dick, Stage @TheDock, Hull, until Saturday