AN IMMERSIVE CHRISTMAS CAROL THAT STRUGGLES TO FIND ITS MAGIC

By Tanya Howard | Founder, The Live Review London · @glamglitzlondon ⭐⭐ | Press Invite

Walking into The Lost Estate usually fills me with excitement. I have enjoyed their past shows, and I expected the same transportive magic from The Great Christmas Feast. I wanted atmosphere, emotion and Christmas spirit, but this time something felt off from the moment the story began. The night had promise yet never quite reached the heights it aimed for.

The entire production rests almost entirely on David Alwyn as Charles Dickens. He is a passionate performer, and he handles the different characters with impressive vocal work. He barely leaves the stage and delivers long passages without missing a beat. I admire the stamina. I admire the commitment. Still, the choice to make this a one-man show left a noticeable gap. The story felt thin when it should have been rich. And I only connected emotionally during the scenes with Bob Cratchit’s family, which speaks more to the source material than the staging.

The pacing also struggled, with dramatic pauses stretching well past dramatic. They shifted from atmospheric to uncomfortable. When Act One ended with Dickens staring out of a window, it felt like the moment might never end. The room was large, the single actor was small within it, and the silence allowed the spell to slip.

BEAUTIFUL MUSICIANSHIP TRYING ITS BEST IN A ROOM THAT WORKED AGAINST IT

The musicians were a highlight. Guy Button on violin, Charlotte Kaslin on cello and Stan Talman on percussion brought warmth and texture to the performance. Yet there were pockets of silence that worked against them. Our table was tucked under a loud silver vent, and the constant hum fought every quiet moment. It was one of those annoying moments that, once you’ve noticed, it becomes impossible to ignore and impossible to sink into the story.

Sightlines were another challenge. There were moments when I had no idea where to look because the lighting sent my eyes in the wrong direction. At other times, the actor disappeared from view behind groups of people because of the venue layout. One of the final scenes was lit so harshly that half my table had to shield their eyes. For £170 a ticket, which is the lowest tier, I expect much more. The top tier reaches £280, and I cannot imagine feeling satisfied at that price.

A VICTORIAN FEAST WITH PROMISE, UNDERMINED BY LONG WAITS AND LITTLE ATTENTION

The feast should have been a highlight, but the service delays overshadowed it. The team explained they were understaffed, and whilst I understand, it really showed. Our table waited so long between courses that dirty plates sat in front of us through entire acts. We barely saw a waiter, so ordering drinks was hit and miss. When a butler came to speak to the tables on either side of us but skipped ours entirely, it left a sour taste. Nobody should feel ignored, especially at those prices.

The food itself had its highs and lows. My Potted Cheese starter was rich but enjoyable in small amounts. The Roast Duck Leg was cooked well, yet very dry. The jus came in what felt like the smallest pot imaginable, and I could not ask for more because no one passed by again. The stuffing was the best part of the plate. The highlight was the Twelfth Night Cake dessert, which was lovely. Though slightly marred by the fact I had to finish it in near darkness because of the short interval and late serving time. I refused to shovel it down just to beat the blackout.

They have a great range of drinks, and we got to try some of the cocktail selection. The Smoking Bishop, which was giving mulled wine vibes, was really nice. The Pear Tree Cup was surprisingly good, as I’m not usually one for gin-based cocktails, but this was nice. Others at the table tried the Café Noir, I’m not a coffee girlie, but they said it was really good.

SMALL MOMENTS OF MAGIC IN AN EVENING THAT NEEDED MORE

There were a few joyful touches. Alwyn’s Mr Fezziwig lifting the room during his party. A playful moment involving dessert timing. A snow effect that made everyone smile. Small sparks of what the whole night could have been. They reminded me why this show once became a Christmas tradition for many. Yet they weren’t enough to outweigh the issues.

Knowing this is the eighth returning year makes me wonder how different previous versions must have been. This one struggled to land. Maybe it was an off night or year because there’s no shortage of  I will say the charity element at the end was a thoughtful touch. Sales of the book and collection donations go to The Felix Project, a wonderful cause, though only taking cash felt outdated.

In the end, I wanted to be swept into Dickens’ parlour. I wanted to feel the story wrap around me. Instead, I felt distant from it. I left feeling like the Scrooge of the room, which is the opposite of what this production aims for. The Great Christmas Feast still carries ambition, beauty and talent, but this year it missed the heart.

The Great Christmas Feast is running at The Lost Estate until Sunday 4 January.

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Photo Credit: Hanson Leatherby