Scrooge’s heart is cold. Bitterly cold. So cold, in fact, that as his aptly-named housekeeper Mrs Busybody says of his chilly abode, if you are unfortunate enough to meet his gaze you are likely to be “farting snowballs”.

One of many badum-tish one-liners in writer and director Tony Cownie’s Edinburgh take on A Christmas Carol in which Auld Reekie and Victorian puritanism play a prominent role in both plot and design with Edinburgh Castle looming over proceedings like the watchful eye of the law which has not only banned the singing of carols but much to the disappointment of Tiny Tim set the dog-catcher after Greyfriars Bobby.

Both of which are charmingly brought to life by puppet maker Simon Auton and puppet director Edie Edmundson.

Stepping into the breaches of the unlikable rogue Scrooge – described as being “that mean if he found a crutch he’d go hame and break his legs” – is Crawford Logan who does fine job of fleshing out what is often portrayed as a two-dimensional gurner.

Bah humbugs are in short supply and as one character says there is but “a wee sprinkle of Christmas spirit”, however the storyline is as lean as Rab Cratchit’s turkey and studded with a plethora of pantoesque punchlines such as “Scrooge is dead?” “I hope so, they buried him” that the audience like Scrooge’s heart thaws to a cockles-warming crescendo as Tiny Tim utters his immortal refrain “God bless us every one – and Bobby.”

Supported by a community choir, the eleven-strong cast are in fine form. Particularly Grant O’Rourke and Steven McNicoll who excel in a range of comedic roles. And Belle Jones and Nicola Roy make a show-stopping exit as the Salvation Army double-act of Lottie Longbones and Mrs Bigchin. So if you can prize yourself away from the yuletide festivities surrounding the “Gothic guddle” of Scott Monument, you’re sure to be entertained. And to quote Mrs Busybody’s parting shot to Scrooge, unlikely to “slip into something comfortable – like a coma.”

Peter Callaghan
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