Eastleigh Operatic & Musical Society [EOMS] 
The Point, Eastleigh 
Mark Ponsford 
6 November 2024
One can’t help feeling that Ebenezer Scrooge would have approved wholeheartedly of Noel Coward’s annual maxim “Christmas is at our throats again!” Scrooge, the centrepiece of my favourite Christmas story, has happily taken up residence at The Point from now until Saturday, in an enchanting stage show with music by Alan Menken and lyrics by Lynn Ahrens, and anyone who has thrilled to Menken’s beloved scores for (among others) The Little Mermaid and Disney’s Beauty And The Beast, should need no further recommendation. EOMS are giving us a rare opportunity to see this 1994 rendering of Charles Dickens’ classic tale, and it’s nothing less than a loving and lovely pre-Christmas Valentine for all the family… in fact, for anyone who loves Christmas, for anyone currently gearing up for Christmas, or even anyone who might need reminding of the spirits (and there are plenty on show here) and sentiments of the happiest of Holidays.
Ben Lister’s production for EOMS, with excellent set, costumes, lighting and sound, moves with a slick fluidity, and an overall running time of just under two hours makes it further recommendation for family audiences. Ed March’s Musical Direction is first-rate, and one of the joys of the evening is the consistently glorious sound of his 17-piece orchestra. Lizz Spencer’s choreography is delightful, not least in the company and ensemble numbers – the first night audience particularly enjoyed ‘Fezziwig’s Annual Christmas Ball’, charmingly led by Jason Sly and Carole Lilly in fine comic form; and the act two opener, ‘Abundance And Charity’, among the most enjoyable of the evening’s high-spots.
The 2004 filmed adaptation of the show for Hallmark TV starred the wonderful Kelsey Grammer, a big man with a big voice, the perfect credentials for the demands of the role as written here, and EOMS have been similarly fortunate with the casting of Mike Pavitt as their Ebenezer Scrooge. Mike, a strong and imposing stage presence, is in great voice, and manages some particularly touching moments in act two. His joy at waking up on Christmas morning, and his vow to change for the better, warms our hearts exactly as it should. He is surrounded and supported by many fine characterisations from the company, not least Keith Stringer’s Jacob Marley. I must confess that I missed that iconic “face in the door knocker” in this version, but Keith is a fine and foreboding presence from the moment he appears.
The Three Ghosts are beautifully cast and represented. Amy Jordan, as the Ghost of Christmas Past, is an enchanting presence who sings like an angel. Neil Maddock, last seen as a first-class Nathan Detroit in SOS Presnts’ Guys And Dolls, continues to demonstrate his versatility here, as a scrumptiously enjoyable Ghost of Christmas Present; and Gennie Matthews is a fine Ghost of Christmas Future, whose presence in this version is ominously heralded early in act one. Dominic Sly and Lyndsay Smith bring the requisite touching warmth to the Cratchits, and Elayna Mele-Chahal makes an absolutely captivating Tiny Tim. There’s excellent Ensemble work throughout, and on the first night only the show’s opening seemed a little tentative, as did a somewhat reluctant snow machine in act two. And if it really is vital for a chaperone to follow the younger members of the cast into the auditorium at one point, then it might be an idea to provide them with similar period costume.
Congratulations to EOMS for bringing us this lovely Winter Warmer of an entertainment. It’s at the Point until Saturday 9 November, and it’s a worthy representation of this sweetest of tales. No Bah Humbugs from me!
