REVIEW: ‘A Christmas Carol’ is family-friendly spectacle that struggles to be more

REVIEW: ‘A Christmas Carol’ is family-friendly spectacle that struggles to be more

“While perfectly enjoyable with a lush musical score, 9 Works Theatrical’s production of this holiday classic still needs technical polish and a stronger emotional center.”

It’s a bit of a Christmas miracle in itself that something as socially conscious and creatively daring as Charles Dickens’ A Christmas Carol has endured as a family-friendly holiday classic. Revisiting this story through 9 Works Theatrical’s new production only emphasizes how dark this Victorian fable really gets—as the curmudgeon Ebenezer Scrooge (played by Arnel Carrion) is taught generosity when a succession of ghosts makes him confront his own selfishness on Christmas Eve.

However, it’s because Dickens’ novella has become so fully absorbed into the language and imagery of Christmas culture as a whole that those who seek to adapt it today risk underselling the seriousness of its drama. This is ultimately what this particular production wrestles with, to varying results. While it remains perfectly enjoyable as a family-friendly spectacle with a lush musical score, it struggles to deliver a smoother technical experience and a more emotionally potent narrative.

Putting On a Show

Originally an annual Christmas presentation that played at Madison Square Garden from 1994 to 2003, the show is clearly designed as a performance piece first. Alan Menken’s extended musical numbers (conveyed in all their festive cheer by musical director Daniel Bartolome) are less concerned with developing character or thematic ideas than they are with building set pieces around gatherings of friends or spirits. But even if Lynn Ahrens’ lyrics eventually begin to repeat the same general ideas, Menken’s generous vocal parts and warm orchestrations still fulfill the show’s mission of defining the holiday season as a time for communal celebration.

With that said, 9 Works has yet to wrangle the sound system of Rockwell’s Proscenium Theater, especially for the actors on stage. If they aren’t competing with the volume of the orchestra, their microphones often sound completely different from one other—some are clear, some are faint and muffled, and some pick up nothing at all. And with an already thin book (by Ahrens and Mike Ockrent) that mostly just colors within the lines of Dickens’ plot, the production seems to prioritize putting on a show over telling a story that invites active engagement, when it should have the capacity to do both equally.

Grief Over Greed

Where this Christmas Carol is able to provide a window into more interesting territory is in Scrooge himself. The musical doesn’t portray him as a greedy, monstrous misanthrope but as someone who’s convinced that the best response to a lifetime of grief is to numb himself to any real human connection. Focusing on Scrooge’s humanity might seem like too safe a choice, but it helps make his inevitable redemption more sincere—having him realize that his own unchecked grief will only spread to others. In this role, Carrion maintains a consistently strong presence, even if Scrooge spends much of the musical on the sidelines, commenting on events. Carrion just can’t quite deliver the full vocal catharsis of Scrooge’s cathartic “Yesterday, Tomorrow and Today,” but his portrayal still thankfully steers clear of cheap caricature.

The rest of the actors don’t get many opportunities to make an impression beyond their being handsomely costumed in winter layers. Instead, they express themselves best when speaking through PJ Rebullida’s choreography, which sets the characters free from their economic woes through ballet and Yek Barlongay’s tap choreo—and makes Carmelle Ros’ silent Ghost of Christmas Yet-To-Be a mesmerizing guide to the afterlife rather than an omen of death and punishment. 

Beyond Just Set Pieces

Even if A Christmas Carol seems more interested in being broad escapist fun, it proves surprisingly good at being lightly spooky for kids and families. Director Robbie Guevara’s work is at its best when executing larger sequences with the aid of special effects—especially the lavish, Nightmare Before Christmas-esque “Link by Link,” where Mio Infante’s oversized chain props slither around stage, glowing in the dark through Gabo Tolentino’s lights. There’s welcome whimsy even in these darker moments.

Without the help of these set pieces, however, the show falls into a bit of disarray. The ensemble tends to clump into shapeless crowds, limiting their movements and making it hard to distinguish who’s speaking or where the action is moving. The set, which is mostly made up of a transparent town façade, feels strangely underlit during more straightforward scenes. And even when the ensemble is at their brightest during big dance breaks, the plainness of their surroundings can’t help but neuter the joy they’re meant to be showing. There’s an opportunity for Dickensian social commentary here, but even if this was the musical’s intention with this particular design choice, the rest of the production still needs convincing that it can be more than just entertainment.

 

Tickets: P2575 – P5665
Show Dates: Nov 29 – Dec 21 2025
Venue: The Proscenium Theater, Rockwell Center, Makati City
Running Time: approximately 2 hours (with a 15-minute intermission)
Creatives: Alan Menken (Music), Lynn Ahrens (Lyrics, Book), Mike Ockrent (Book), Robbie Guevara (Direction), Raul Montesa (Assistant Direction), Daniel Bartolome (Musical Direction), Mio Infante (Scenography), PJ Rebullida (Choreography), Yek Barlongay (Tap Choreography), Gabo Tolentino (Lighting Design), Aji Manalo (Sound Engineering/Design), Joee Mejias (Video and Projection Design), Sheik Completado (Technical Direction), Elliza Aurelio (Hair and Makeup Design)
Cast: Arnel Carrion, Franco Laurel, Lorenz Martinez, Carmelle Ros, Boo Gabunada, CJ Navato, Nicole Omillo, John Joven Uy, Anna Santamaria, Jasper John Jimenez, Meliza Reyes, Neo Rivera, Molly Langley, Mariella Laurel, Richardson Yadao, Rica Laguarda, Gary Junsay, Joshy Ramirez, Derrick Gozos, Denzel Chang, Roxy Aldiosa, Natalie Duque, Matthew Barbers, Enzo Dognidon, Jethro Ting, Sofia Aguilar, Atalie Castillo, Giani Sarita, Manolo Villalva, Bianca Estacio, Sofia Laurel, Elian Santos, Kim Hewitt, Ani Cinco, Lucia Laurel, Drake Manlapaz, Liam Nery
Company: 9 Works Theatrical