Since its initial sold-out publication in 1843, and its first stage adaptation of 1844, Charles Dickens’ Victorian novella A Christmas Carol has been an annual holiday tradition, spreading the joy of the season to all ages. The Old Vic’s acclaimed 2017 immersive production of the beloved classi c, adapted by British playwright Jack Thorne, is now back in NYC for a limited Off-Broadway engagement at the Perelman Arts Center (PAC), where it is brought to life in the intimate space by a captivating cast and a uniquely communal design and staging. Under the imaginative conception and direction of Matthew Warchus (with co-direction by Thomas Caruso for PAC NYC), it’s a magical experience that is sure to enchant even the most crotchety among us, brimming with warmth, good cheer, and the true meaning of Christmas. The company. Photo by Andy Henderson. The timeless tale of the transformation of the cold-hearted miser Ebenezer Scrooge into a kind, compassionate, and generous human being is here preceded by members of the cast, in Victorian attire and stylings (costumes by Rob Howell; hair, wigs, and make-up by Luc Verschueren for Campbell Young Associates), treating us to gingerbread cookies and clementines from the baskets they carry through the aisles, a quartet of musicians (Caroline Cassio on violin; Buffi Jacobs on cello; Emily Pecoraro on clarinet, bass clarinet, and whistles; and Shawn Gough on accordion and whistles) playing traditional holiday music, then the company joining them onstage, singing, dancing (movement by Lizzi Gee; Celia Mei Rubin serving as dance captain), ringing the Christmas bells, and encouraging us to clap along and to partake in the Yuletide merriment and the spirit of giving under the myriad of glowing period-style lanterns that hang from the ceiling and encircle the audience. Be advised that the production also contains smoke, theatrical haze, flashing lighting effects (by Hugh Vanstone), loud noises and echoing voices (sound by Simon Baker), and falling snow (by JM Special Effects) that envelope both the characters and the theatergoers, contribute to the drama, and create the ambiance of Scrooge’s life-changing journey with the apparitions of his late business partner Jacob Marley and the Ghosts of Christmas Past, Present, and Future. For the entirety of the performance, the enacted story is interspersed with segments of direct-address narration and recurrent music, dance, and iconic Christmas carols in an authentic 19th-century style (with compositions, orchestrations, and arrangements by Christopher Nightingale; music supervision by Paul Staroba; music direction by Chris Gurr; and music coordination by Michael Aarons). A mostly bare central platform – with steps and runways leading to it, seating all around (and the front rows a mere inches away), four doorframes that arise from it on all sides, and wooden boxes that are stacked and rearranged to represent the different locales and furnishings (set by Howell) – functions as the main stage. But the actors often move through the house, interact with the audience, and are seen singing from high above, in spotlights on the balcony. Not a moment goes by without us being made to feel connected to the characters and a part of it all. Michael Cerveris. Photo by Andy Henderson. Not only are the concept and design original and inclusive, the acting is thoroughly engaging, led by the extraordinarily expressive and convincing Michael Cerveris as Ebenezer Scrooge, who fully embraces his metamorphosis, revealing the background motivations for his ill-tempered behavior and “Bah, humbug” dismissal of the holiday celebrations, the emotional impact of his revisited experiences and visions of what’s to come on the night of Christmas Eve, and the positive effect the moral lessons of the ghosts of time and Marley (an eerie and commanding Chris Hoch) – enchained for eternity by his greed and hoping to spare the like-minded Scrooge the same fate – and the optimistic attitude of the irresistible Tiny Tim (played by Micah Fay Lupin on the date I attended, and alternating with Izzy Elena Rita at select performances) had on him. His voice and demeanor change from the irritable, uncaring, solitary, and money-driven misanthrope he was to a self-aware, apologetic, and ebullient philanthropist, who emanates the love and happiness of Christmas and life.   While Thorne takes some liberties with the scenes and characters in this reimagined version of the didactic story, most notably making the Ghosts of Christmas Past, Present, and Future (or the person who knows, understands, and leads him there) female, having them appear in matching colorful dresses and bonnets instead of the usual spectral capes and hoods, and adding touches of humor (e.g., one of the spirits gives herself a name that she always liked when Scrooge asks what he should call her), Dickens’ over-riding message remains clear. Crystal Lucas-Perry. Photo by Andy Henderson. And the supporting cast masterfully delivers it through the array of figures and their individual personalities: George Abud as his loving nephew Fred, who invites his uncle for Christmas dinner every year despite his refusal to attend; Paul Whitty as his old boss, the jovial Fezziwig, known for the holidays parties he hosts, his concern for the needs of his clients, and support of Ebenezer despite his desire for bigger things; Julia Knitel as his sensitive lost love Belle; Dashiell Eaves as his overworked, underpaid, and devoted employee Bob Cratchit; Nancy Opel as the reflective Ghost of Christmas Past; the powerhouse Crystal Lucas-Perry as the fiery Ghost of Christmas Present, with an imperious attitude and a pronounced Caribbean accent (voice and dialect direction by Andrew Wade); and Ashlyn Maddox as his perceptive sister Little Fan. Rounding out the consistently fine company are Maxim Chlumecky as Young Ebenezer, Rashidra Scott as Mrs. Cratchit, Madalynn Mathews as Jess, Dan Piering as Ferdy and George, and Teddy Trice as Nicholas, all skillfully assuming just the right bearings and contributing to the enthralling storytelling.   The PAC’s stellar production of the Old Vic’s dazzling interpretation of A Christmas Carol is a truly transportive theatrical must-see that is sure to put you in the holiday spirit and to reinforce your appreciation for Dickens’ uplifting message, delivered by an outstanding cast, director, and design team. When you go, be sure to bring some cash for the collection bucket on your way out, which provides support for River Fund and its mission of overcoming the devastation of poverty and making the holidays a little bit brighter for those in need. Running Time: Approximately two hours, including an intermission. A Christmas Carol plays through Sunday, January 4, 2026, at Perelman Performing Arts Center (PAC NYC), 251 Fulton Street, NYC. For tickets (priced at $58-181, including fees), go online, or find discount tickets at TodayTix. The post London’s Old Vic production of ‘A Christmas Carol’ immerses us in holiday cheer Off-Broadway at the PAC appeared first on DC Theater Arts. ...read more read less