It’s hard to believe that Philip Norman’s operatic version of A Christmas Carol premièred over thirty years ago. And, although I saw that original production, this afternoon’s abridged adaptation has no perceptible gaps in the storyline. Norman’s own text is both imaginative and entertaining – I particularly enjoyed the felicitous rhyme of ‘failure’ and ‘Australia’ right at the start, and the composer’s way with words remains beguiling throughout.

Director Margot Button makes imaginative and effective use of the Great Hall’s layout and spaces, with the balcony above the stage making a particularly effective location for the three Christmas ghosts to observe and reveal Scrooge’s misdeeds. Entrances and exits from the centre aisle are also effective, making the audience feel personally involved in the storytelling.

Norman’s opera is very much an ensemble piece, so that even the central character of Ebenezer Scrooge contributes more as part of a team than as a star soloist. But Warwick Shillito is unfailingly convincing in a role in which he is rarely absent from the stage. Even in episodes where he is more an observer than a participant, his engagement and characterisation remain impressive.

The same is true of the entire cast with all fourteen members (too many to name individually*) of the adult cast contributing effectively to a superb ensemble performance. The quartet of carollers, while listed in the programme as comprimario (supporting cast), provide Greek-Chorus-like continuity with impressive part singing and characterful interplay of individual personalities.

The three Christmas ghosts are given more opportunity for cameo solos with John Bayne (Christmas Present) benefitting from one of the composer’s most appealing examples of melodic and harmonic invention, along with the delightful waltz rhythm of the Christmas Past scene.

As Christmas Past, Tara Martin’s attractive soprano timbre projects effectively without the need for the microphones that are used (for me, surprisingly) throughout this performance. Might more ghostly atmosphere be achieved without amplification, especially from the balcony?

As Christmas Future, Katherine Doig inflects her short and powerfully projected solo with some ghostly portamenti that enhance the impact of her rather eerie characterisation.

In this abridged manifestation of A Christmas Carol, the two Cratchit children have less opportunity to shine, but they provide an endearing presence, even if Tiny Tim (Robin Keena) seems a bit too healthy considering his imminent death.

On its own terms Toi Toi Opera’s presentation works a treat. Costumes, lighting, singing, staging, continuity and pace are consistently effective, giving the whole production a professional and uplifting quality.

From a personal and subjective perspective, I’ve already commented on the use of microphones and, combined with the absence of an orchestra in a work of this nature, amplification tends to exaggerate flaws in intonation and vocal steadiness. While Alison Holden’s musical direction and piano accompaniment are impressively in evidence throughout the performance, the added colour, vitality and support that an orchestra provides in opera is lacking. There are times in this performance when scene changes seem to be longer and more monochrome that they would with the colours of an orchestra. And piano accompaniments that comprise sparsely textured chords don’t have the sustaining support that strings and woodwind can provide for the singers. I know that an orchestra can make a project such as this significantly more expensive but, even so, it’s an observation that needs to be mentioned.

Philip Norman’s way with word-setting tends to be almost exclusively syllabic, making it more difficult for singers to shape musical phrases or to spin legato lines. This becomes more noticeable with those singers who are more experienced in musical theatre than in opera.

But, these minor observations aside, Toi Toi Opera has once again shown itself to be an innovative, creative and accomplished company. The whole performance has a feeling of co-operative teamwork and joy in performing, which easily communicates itself to this afternoon’s capacity audience.

(*please see production credits for all names. Ed)

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