You can’t swing a pair of pointe shoes in London at Christmas without hitting a production of The Nutcracker. So it’s nice to see that there’s finally a new festive dance show on the block (one that isn’t by Matthew Bourne, anyway).
Hip hop honchos ZooNation are taking on the Dickens classic, A Christmas Carol, this winter. However, at the beginning we are told that writer/director/choreographer Dannielle ‘Rhimes’ Lecointe’s version is absolutely not going to be the tale you recognise, with Tiny Tim et al. Instead, the recorded opening narration explains that Ebony Scrooge is about a ruthless fashion mogul (there’s certainly a bit of Miranda Priestly in there), hellbent on completing her monochrome fashion show in time for Christmas Day. It’s also spelled out that this is a story of belonging and finding your roots, which is perhaps a bit unnecessary – we all know the moral of A Christmas Carol.
Ebony Scrooge offers up a fun and inventive cast of characters, and I’m sure people will have their favourites. There are the mischievous content editors Tren and Dee (see what they did there?) with iPhones in hand; Scrooge’s sweet niece Freddie, always dressed in pink; and the kind natured Bob who just wants to put colour in Scrooge’s strictly black and white designs, played by a wonderfully fluid Malachi Welch. Leah Hill is a fabulous Scrooge, vogueing onto the stage in a pair of sparkling killer platforms over a house beat. Marley (that’s Janet Marley in this version) is quite terrifying, embodied as an austere mannequin come to life. Played by the terrific Sia Gbamoi, the arrival of Janet’s ghost is preceded by the sounds of horror-style strings and ripping fabric, instead of clanking chains. The range of characters is a great way to pack in loads of different styles, from popping, locking and breaking, to waacking, tutting and KRUMP.
The set is sparse, with a grid of neon lights lining the stage. The rest of the vibes are created by a clever mixture of atmospheric lighting, projections and moving boxes that create different ‘rooms’. Natalie Pryce’s costumes are colourful and fierce, and feature a streetwear take on office garb, OTT fashun silhouettes, and a few obligatory Christmas jumpers.
It’s not a perfect production – the first half is stronger than the second. After a moving visit by Past, including a lovely sequence where Scrooge rediscovers her roots, the resolution of the story feels more like a fizzle than a bang. There is the hint of a romance – Hill and Welch have good chemistry as the stern Ebony and pining Bob, however, their story isn’t given enough air time to play out, and is wrapped up pretty abruptly. I would have liked to have seen more of the pair dancing together.
If you’re looking for a fun and relaxed festive dance show to entertain the whole family, Ebony Scrooge is a solid bet. At the beginning the audience is invited to ‘make as much noise as possible’, and it all ends with a big dancealong. The story is incredibly easy to follow as the plot is moved along by recorded narration, plus two overcoat-clad rapping storytellers, as well as songs with lyrics. Sometimes the rhymes in the rap leave much to be desired, but it doesn’t detract from the overall experience.
ZooNation’s tribute to Dickens is good festive fun, and offers a great bit of variety from all the usual Tchaikovsky-and-tights Christmas dance productions.
