Mark Gatiss' A Christmas Carol: A Ghost Story doesn't just retell Dickens' classic - it fills it with a ghostly, haunting chill - wrapping Scrooge's redemption in fog and flickering candlelight.

As this atmospheric festive favourite returns to Alexandra Palace Theatre in 2025, critics have been lining up to praise its deliciously dark tone, theatrical spectacle, and the way it makes the familiar feel thrillingly new.

Here's what reviewers have been saying about this spin on the Christmas classic.

Book Tickets

A Christmas Carol Ghost Story Reviews

"Still, what the show gets right matters. Its commitment to a more spectral take gives it distinct identity, and the visual craft makes this retelling textured and alive. Most people will go because it's A Christmas Carol at Christmas, and on that front, the production delivers well. It captures the festive spirit and Dickens' moral heart while adding genuine thrills: the kind of atmospheric theatre that makes for a memorable family outing." - Everything Theatre

"What with a full cast rendition of O Come All Ye Faithful, it's an engaging festive story with added edge, that never quite reaches the emotional highs or jump scares it's aiming for." - Hackney Gazette

"Cottle is terrific, and his portrayal of a miserly old man rediscovering his conscience in the nick of time proves surprisingly poignant." - Camden New Journal

"Even with Morrissey's enjoyably chilling contributions, it's Cottle who steals the show as he allows us to sense the pain beneath his rage. We feel the depths of his despair when he sees his coffin and realises the emptiness of his existence, making the feeling of redemption all the more intense as he awakes after the final haunting to discover he has a second chance." - The Arts Desk

"Visually, this show is a feast. Paul Wills' set design is clever and atmospheric, with towering filing cabinets dominating the stage, a constant reminder of Scrooge's obsession with status and wealth. These structures morph into shadowy Camden streets as the story shifts through time, aided by projections that whisk us from schoolrooms to snow-dusted London skylines. Add in dry ice, LED lights, and some delightfully eerie puppetry wispy ghosts floating through the audience, a scrappy dog, and a pair of unsettling shoulder demons and you've got a production that feels alive with Victorian spookiness." - All That Dazzles

"The set design is glorious, with towering stacks of Scrooge's files shaping London streets full of smog and lurking danger, as well as Victorian style' special effects by John Bulleid that sometimes work, sometimes don't. The problem is mainly that, well over a century on, theatrical effects have come on so far that a few projections, mysteriously ringing bells and jump scare flashbangs don't really chill the bones." - The Standard

"The result is traditional enough to pay homage to the original narrative, whilst simultaneously staking claim to being something different'. By doubling down on the spooky aspects of the narrative, this play manages to convince its audience that they are not being haunted by the ghosts of plays long past, but treated to a festive feast, whose flavours are familiar yet distinctive, comforting yet haunting, evocative yet eerie." - The Reviews Hub

"I really liked Mark Gatiss's interpretation. At two and a half hours, it is for adults rather than children and I think Dickens would have approved this production for its realism, the adaptable and impressive set, authentic costumes, Victorian atmosphere and how one man finds happiness in being kind." - Theatre Vibe

"There's so much to love in this production and by the end, having been on such a journey with Scrooge and the other characters, the final rendition of O Come All Ye Faithful is so beautiful that it may leave even the biggest grinch feeling festive." - Theatre & Tonic

"This adaptation is subtitled A Ghost Story', with Gatiss declaring his love for the supernatural aspect of the novella. A Christmas Carol certainly dials up the spookiness and in some cases it's very effective, with strong contributions from lighting designer Philip Gladwell and sound designer Ella Wahlstrom.." - Theatre Weekly