Christmas arrives early in Windsor. This week, Roy Marsden returns as director and star of Theatre Royal’s latest “On Air” production of A Christmas Carol and then, just a week or so later on 22 November, their annual pantomime opens for its seven-week run with the regular cast of Kevin Cruise, Steven Blakeley and Basil Brush, enhanced by Hilary O’Neil and Lyn Paul as Fairy Bowbells and Queen Rat respectively in Dick Whittington. Just for good measure, the “On Air” production ends with the audience joining the cast in singing ‘Good King Wenceslas’, ‘Once in Royal David’s City’ and ‘God Rest Ye Merry Gentlemen’ as the snow falls on stage to send you off into the autumn air with a smile and feeling full of the Christmas spirit.

Charles Dickens’ Victorian morality tale is very familiar from the many adaptations for film, TV and stage, and so many of the lines and characters are instantly recognisable. We all know that when Scrooge mutters “Humbug” to denigrate the Christmas spirit, that the sight of Tiny Tim in the present-day Christmas and his absence in the shadow of future Christmas will melt his heart and change his outlook. It is this central theme that makes the show resonate today as much as it did when written nearly two centuries ago.

Of course, it helps that Roy Marsden’s portrayal of Ebenezer Scrooge’s transformation from gruff, miserly, uncaring money lender to joyous, philanthropic benefactor to everyone he meets is beautifully delivered as the Ghosts of Christmas open his eyes to what he is missing in life. Some may agree, especially this year, when he says, “Christmas is when you find yourself one year older and not a penny richer” but your sympathies rise when he is told as a child “your father doesn’t want you home”. He may be in his eighties now, but his stage presence, booming voice and expressive facial expressions convince us of his transformation.

He is well supported by a very good cast including Windsor regular Jenny Seagrove , recently seen in the last delightful “On Air” production of Brief Encounter, and now reprising her role as a Scottish Ghost of Christmas Past and then as an East End Mrs Cratchit. Another returning star is Michael Praed, recently seen at the venue in Gates of Kiev as the put upon clerk and father to Tiny Tim, Bob Cratchit.

Completing the cast in this year’s version is Ben Stock, before he heads off to join the cast of Richmond Theatre’s panto, Beauty and the Beast. He is Scrooge’s ever optimistic nephew, Fred and as a younger Scrooge full of hope. Robert Duncan (best known from Drop the Dead Donkey on TV) makes an eerie appearance as Marley, with a lightweight looking chain around his neck, an ebullient Fezziwig and the Ghost of Christmas Present, creating each with charm. Holly Smith plays the contrasting roles of Mrs Fezziwig and young Martha, Cratchit’s daughter. Shannon Rewcroft is delightful as Scrooge’s first love Belle, and then Tiny Tim, as well as leading the company and the audience in those traditional Victorian Christmas carols.

The premise of the production is that we are watching a radio broadcast from a BBC studio with a cast who have dressed up for the occasion, with a Foley Artist who adds the sound effects live. However, when the curtain rises, you immediately feel drawn in by the elaborate staging with elegant furnishings and period decorations behind the standing microphones. It has a lovely sense of location and provides a good background to the uncomplicated blocking, with Scrooge taking the central microphone and the rest of the cast circulating behind him to create the various scenes.

Michael Workman is this year’s Foley Artist and the voice of Christmas Future. He is less flamboyant than last year’s Martin Carroll as he adds the live sound effects of doors closing and bells ringing. Some of the effects are very subtle such as a candle being blown out or the gentle chinking of Marley’s chains and without the physical presence, you would not notice the sound! Others like the underscore of thunder and wind add drama to the ghostly appearances.

The format focuses on the narrative and the message of redemption and care for those less well off than yourself, and we are reminded of the reason why this story written in 1843 still resonates so well today and has become such a staple of British Christmas tradition. It also shows what a talented ensemble of actors can achieve with, one assumes, very limited rehearsal time. Christmas is here again and if you don’t like it: Bah Humbug to you!

**** Four stars

Reviewed by: Nick Wayne

A Christmas Carol (On Air) plays at Theatre Royal Windsor until 16 November, with further info here.