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Now booking Domestic & International gigs through the festive period 2020 - please call +44 (0)7979 757490 or Email for availability

This show can play in any venue from large theatres to small rooms in pubs or even home Christmas Parties!


Mon-Fri 2nd-6th The Arts Centre, Edge Hill University, Ormskirk - TBC 01962 840440
Wed-Thu 24th & 25th Hullabaloo Theatre, Darlington - TBC 01325 405405
Sat 30th The Waterfront, Bliss Hotel, Southport - TBC 03333 445000


Thu 3rd Yale Centre for British Art, Newhaven CT USA - TBC +1 203 4322800
Fri 11th Quarry Theatre @ St Lukes, Bedford - TBC  
Mon 14th London Welsh, Grays Inn Road, London - TBC  
Tue-Sat 15th-19th Salisbury Playhouse - TBC  
Mo 21st The Brewhouse, Burton On Trent - TBC  

Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)
Theatre Tours International in association with Maverick Theatre Company presents


Performed by Guy Masterson
Adapted & Directed by Nick Hennegan
From the text by Charles Dickens
Original Music by Robb Williams

Olivier Award winner, Guy Masterson, veteran of many smash hit solo works such as Under Milk Wood, Animal Farm and Shylock, now brings us Dickens' classic festive fable. Famed for bringing multiple characters to vivid life, Masterson recreates Scrooge, Marley, the Fezziwigs, Tiny Tim et al in an enchanting, performance that will dazzle and linger long in the memory. Guaranteed to get you into the Christmas Spirit - in many more ways than one!

"Masterson's production is an understated warning and a celebration of the hope for human kind. A Christmas Carol for our time." (Public Review - 27/11/17))
"Just when you thought you'd seen enough Christmas Carols to guide you to your grave, along comes one of the best yet!" (BBC Radio 01/12/17)
"Quite simply spellbinding!" (ReviewSphere - 06/08/18)

From Edinburgh 2018

Before a wooden chair and a rumpled raincoat suspended from the ceiling on a hook, an angelic rendition of O Little Town of Bethlehem gives way to a harsh soundscape which transports the action from the workhouses and slavery of Victorian England to the food banks and zero-hour contracts of Brexit Britain: a cacophony of car horns, jarring synthesisers and Neil Armstrong's iconic quote "That's one small step for man, one giant leap for mankind."
The latter of which begs the question: how far have living standards leaped? Same shit different day would appear to be the answer, given that the gap between rich and poor has never been wider, the haves have even more and the have-nots are demonised as 'shirkers not workers'. Or in the case of immigrants (and by association refugees and asylum seekers), confronted with threatening billboard vans which ordered 'Go home or face arrest.'... I digress.
Guy Masterson, under the deft direction of Nick Hennegan who has adapted Dickens' festive tale of redemption into a taut 75 minutes, is quite simply spellbinding. Dressed in casual attire, he begins his rapid but never rushed narration in his natural voice and with his body in a state of balance, but as soon as he speaks of the "squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner" his expansive frame clenches into a tight fist. A fitting metaphor for a miser described as "No wind that blew was bitterer than he".
Relying entirely on Masterson's undoubted talent as a storyteller – he never imposes himself on the material, but like a fine musician filters Dickens' dense and descriptive passages through his well-tuned vocal and physical instruments – Hennegan draws upon the simplest of theatrical techniques to powerful effect.
For example, Marley's nocturnal visitation is characterised by a stark footlight which throws an imposing shadow on the back wall which combined with a faint reverbation and an ominous rumbling by composer Robb Williams recreates what the second spirit calls "A place where Miners live, who labour in the bowels of the earth". The sure destination of Scrooge should he refuse to mend his ways.
But, as we know, an 'alteration' takes place and the man who was once described as "hard and sharp as flint" becomes "as giddy as a drunken man". As was the 'small but perfectly formed audience' who marvelled at Masterson's spellbinding performance as they reengaged with Dickens' wonderful and timeless tale of redemption. (Peter Callahan - Reviewsphere - 06/08/18)

Edinburgh Legend/stalwart Guy Masterson gives a tour de force of one man show virtuosity in this faithful yet innovative, unseasonal yet oddly appropriate much loved Christmas classic.
Oh not A Christmas Carol AGAIN!  It's been filmed innumerable times for TV and cinema, muppeted, adapted as a musical, updated, re-interpreted, turned into Panto, pastiched, lampooned and, perhaps most damning of all, put in the GCSE curriculum. Is there any short novella that has been more culturally exploited in history?  Almost certainly not.
A dangerous decision then, for Olivier Award-winner Guy Masterson to select what many would see as a hackneyed and overworked piece and apply to it his undoubtedly impressive talents, both as writer and performer.  It's a cash cow that has been ridden by many other eminent performers after all; Simon Callow and Patrick Stewart in recent years spring to mind, and Gary Sefton's magnificent adaptation in 2016.
What does Masterson bring to the already groaning A Christmas Carol table that is new? Well for a start, it's the Summer. "Australians do it!" is the publicity gag, but actually, it really isn't a problem.  Quite the reverse. It may be Summer, but this is Edinburgh, so the skies are leaden and grey as any midwinter day elsewhere. Less flippantly, there is something immediately refreshing about looking at a Christmas classic from the fresh perspective of the Summertime;  it's a piece that is infused with cold, with the physical privations of ice and snow and dark, and the enjoyment of merriment and togetherness that can keep the real and metaphorical dark at bay.  Being reminded of the dark days, and how to be a better person, and keep a better Christmas, seems more instructive, more actually useful, with a bit of distance in the year. Even Scrooge gets some advance warning, after all.
The second innovation is much more important. This is, truly, a one-person show. It has elements of narration and storytelling, yes,  (and Masterson's Burtonesque baritone does this beautifully), but unlike any other solo version I have seen, it is a genuine and astonishingly successful attempt by one person to people the stage with all of Dickens characters. Masterson uses the full panoply of voice, characterisation, physicality, mime, dance, sound effect and music to terrific effect, effortlessly slipping between character and place, simultaneously building word pictures of the scenes as he goes.   It is only when he pauses briefly for a drink he wishes was beer about forty minutes in that you appreciate the awesome work rate this requires.
It is a mesmerising, breathless construction,  and finally answers the question: can a one man show be truly a drama?   Turns out, yes it can, providing you have a world class actor, a tight and atmospheric script, and minimal but clever and evocative sound design.  These three things have to work doubly hard when you consider the set is a chair, a hook for a coat, and a coat. That is it; but you will have been as present at Mr Fezziwig's revels as you have ever been; as enchanted and frightened by the ghosts as you were at the age of ten, and you wilL let slip involuntary tears of pity for a Tiny Tim who is only seen in the place Masterson makes for him in your mind's eye.  
The final refreshment of this well trodden path is the adaptation.  It is muscular, spare, but full of the richness and wit of the original.  It seems remarkably faithful to the source, and there is no concession to modernity, which is a blessing to all true fans of Dickens and his wit. Making Dickens' jokes lift off the page and sing is no simple matter, but this version, in the hands of Masterson, makes you remember anew why A Christmas Carol is such a perennial favourite. Because it is wonderful. It is funny, scary, moving and uplifting, and once the encrustations of a hundred other Christmases and innumerable other versions are knocked off it, the shiny sixpence of brilliance and originality remains undimmed underneath.  
I urge you to go and rediscover something you thought you knew all too well, and join the standing ovation at the end. (David Mounfield -FringeReview - 16/08/18)

Summoning the ghost of A Christmas Carol, Guy Masterson's adaptation is a creative show by a talented and energetic performer.
Banish any scepticism or bah humbugs about seeing a Christmas show in August because this will have you feeling more festive than a John Lewis Christmas advert in no time.
The show is performed through spoken work, word from word from the book, but with a genuinely funny and charismatic delivery. Masterson jumps from character to character, going from old man to echoing ghost to the squeaky-voiced tiny Tim with ease, aided by effectively utilised lighting and sound effects and the flow was never disrupted or disjointed. More scaled back than big budget, this minimalist performance merges together into a ballet of festivity. Masterson performs each part well, taking advantage of the whole space in a dynamic display of skill.
Go see this play if you're a fan of Dickens, A Christmas Carol or just want to see what can be achieved with a minimal set, some imagination, and plenty of Christmas spirt. (Johnny Rhodes - EdFestMag 16/08/18)

On a bare stage there is a solitary chair, with a raincoat suspended in mid-air to one side. That's all the setting required for this one-man retelling of Charles Dickens' A Christmas Carol. Celebrating his 25th season on the Edinburgh Fringe with no less than four productions, Guy Masterson may not be the first person to bring a one-man Dickens to the stage, but it might be a first for this summer festival.
The familiar characters are all present and correct and Masterson slips easily from one to the other. His Scrooge sounds refreshingly robust – not unlike Ray Winstone – but this abridged adaptation is a thing of beauty, rich in descriptive detail and emotional impact. The actor brings warmth and genuine Christmas spirit to Fezziwig's party, with even a brief nod to a same-sex relationship. At the other end of the story, the Cratchits' Christmas feast is a bustling affair, busy with chatter, good cheer and of course, Tiny Tim's homespun philosophies.
To lend atmosphere, Masterson wears a radio mic, which lends volume and echo to the Spirits voices but other than some sensitive lighting, there is nowhere for the actor to hide. Masterson defiantly fills the stage however and holds the audience rapt from beginning to end. (Paul Vale - The Stage 11/08/18)

Dickens' timeless tale of redemption at Christmas is once again brought to life in this tour de force of a performance by an accomplished actor.
Using only a single chair and a raincoat, Guy Masterson manages to populate the stage with the familiar cast of characters – Bob Cratchit, Tiny Tim, Old Fezziwig and the others – with enormous energy and enthusiasm.
This tale has been told so many times and in so many ways in films, animations, musicals – and one-man shows, so it is quite extraordinary that it still retains such a powerful hold over us. We all know that Tiny Tim is not going to die, but the very idea of it is still enough to move us to tears.
As the story is so very well-known, the critical focus has to be on how well it is told, and it is told very well, with as much focus on physical agility as verbal dexterity; the dancing at Fezziwig's and the party games at Fred's are hilariously frantic. We might have expected a little more contrast between the voices of Jacob Marley, The Ghost of Christmas Past and The Ghost of Christmas Present, rather than just a mild echo effect to indicate that we were in the world of spirits.
The story moves along with great pace, rushing towards its joyful and convivial conclusion.
A Christmas Carol is a faithful and impressive re-telling of a classic. Dickens himself frequently performed, dramatised versions of his own work. He would have loved this show. (Jon Cross - Edinburgh Guide - 10/08/18)

A Christmas Carol may sound like an unlikely selection for the Edinburgh Fringe in August but it proves to be a perfect vehicle for Guy Masterson to deliver a masterclass in the art of solo performance.
For 75 minutes, aided by no more than a chair and coat, the actor magically creates the Victorian classic, using every skill in the acting repertoire. It helps that both the lighting and a soundscape composed by Robb Williams are well judged to enhance the performance.
Nick Hennegan directs and has skilfully adapted the novel, bringing out the beauty of Dickens's language, building the drama to a truly uplifting climax.
Even if you are sick to death of Edinburgh solos, give this one a go as it will refresh your palate for what can, in the hands of mere mortals, all too frequently seem like a jaded and over-used art form. (Philip Fisher - British Theatre Guide - 10/08/18)

A TRULY AMAZING JOB! - Bedford Clanger
A Christmas Carol is a classic tale, and most people you ask can certainly remember some aspects of it, but it would seem that most audiences would say it’s old; read it once or watch one adaptation and that’s all you really need, right? Well I say “wrong”! In the world we live in today, with so many people less fortunate than ourselves right on our doorstep, with some of us afraid to give some of what we have to these people because “What if it’s just a money-making scam?” I think we all need to take a moment in this time of giving and re-evaluate our thinking with this timeless tale and, in my opinion, there is no better way to reacquaint ourselves with the spirit of change and charity at Christmas than with Guy Masterson's one-man retelling of A Christmas Carol that I saw on 8th December at The Place Theatre.
Guy Masterson, the sole performer onstage, did a truly amazing job in bringing this story to life. His storytelling skills were really brilliant and there was never a dull moment. His characterisation was also wonderful and at times I forgot that this was a one-man show! Masterson was able to make each character clearly distinct and still totally believable, which is a great skill. He also remained completely calm whenever there was a technical issue and played it off brilliantly, where others may have panicked.
Nick Hennegan’s adaptation was both humorous and moving and his use of language, combined with Masterson’s amazing acting skills and the well-timed and emotive use of Robb Williams’ original score, made for an immersive and unforgettable show. I certainly look forward to seeing what these three brilliant artists put their creative minds to next! (Kezia-Rose Johnston - Bedford Clanger - 11/12/18)

From the World Premiere 25/11/17

The Haystack Theatre - (25/11/17)
"God Bless us everyone!'’ cries Tiny Tim. Indeed. God Bless Guy Masterson, whose revival of Dickens’s immortal tale, A Christmas Carol, saw its first performance at the Haystack Theatre, Ford last week. Masterson is no stranger to one-man presentations. His skill in defining a multitude of characters with a turn of the head or an eyebrow raised brings echoes of his earlier triumphant shows such as ‘Animal Farm’ and ‘Under Milk Wood’. Here Dickens'’s cast, from Jacob Marley to Tiny Tim and Old Fezziwig jostle for space in a show that runs for nearly an hour and a half. There is barely a break for Scrooge to snooze, between each ghostly visitation. This one-man show is a prodigious trial of memory, but also a test of an actor’s mettle in terms of concentration and physical fitness. There is plenty of dancing too, as we move from the narrow Counting House to the jollity of Christmas Past, the making-do of Christmas Present and grim forebodings of the grave that must await us all. Subtle use of an echo mic for the Spirits’ visitation, along with some fine underscoring, underlines the shifting mood. But the actor bears the load of adding light and shade to Dickens'’s tale. Masterson has used the original text from the author’s own dramatic readings of the story. But thanks to the minimal staging - a wooden chair, a raincoat on a hook, echoes of the modern world are never far behind. Skinflint Scrooge’s journey to redemption from despair is something more than a cosy tale to wile away a winter'’s night. Ghosts of Ignorance and Want remind us of the final question ‘Are these shadows of the things that Will be, or of things that May be?" Masterson’'s production is an understated warning and a celebration of the hope for human kind. In short, it is A Christmas Carol for our time."” (Peter Fanning - Public Review - 27/11/17))

Magic from One Man and his Mac (25/11/17)
Guy Masterson is a bear of a man and a phenomenal actor. And he draws deep upon both those attributes to power his way through his latest theatrical challenge; his one-man presentation of Charles Dickens' Christmas tale.
He premiered this latest creation in a cosy barn, deep in the Shropshire countryside, before an audience who had seen sufficient Masterson shows to be full of anticipation. And their expectations were more than fulfilled.
It's a bare stage, wreathed in black drapes, from which hangs a limp, pale raincoat that becomes all manner of things including the illusion of flying.
The other weapons in Masterson's armoury are a subtle sound track, some startling lighting, and himself; his frame almost filling the space, like a human prop in a Victorian mine shaft.
The characterisations (of practically every major figure in the book) are devoid of cliché. Like all the very best actors, he does very little - but just enough - to differentiate between the kind and the cruel, and the quick and the dead.
Scrooge, for example, is played remarkably straight with barely a croak or stoop. And yet, with just one sideways stare, the cold chill of a Christmas-unobserved pours across the footlights; in sharp contrast with the wafting warmth of the Cratchit parlour. It's all done with cross-fading lights and variations of voice; and, in the case of the four spirits, with a resounding echo box. It was so intricate I was left wondering how it was done – and Masterson wasn't telling. (Someone at the back of the barn must have had very nimble fingers).
What he does tell - wonderfully well - is Dickens' classic story, with purity, poignancy and panache. Just when you thought youd seen enough Christmas Carols to guide you to your grave along comes one of the best yet; seemingly effortless, but hugely effective." (Chris Eldon Lee – BBC Radio - 01/12/17)

Download: Guy Masterson Headshot (image: Brigitta Scholz-Mastroianni 2014)

GUY MASTERSON - Performer (click for additional biographical material)
After obtaining a Joint Honours degree in Biochemistry and Chemistry from Cardiff University in 1982, Guy studied drama at UCLA's School of Drama and started as an actor in 1985 in Hollywood. He returned to the UK in 1989 to study further at LAMDA.
Following a conventional start in plays, film and television, Guy began solo performing in 1991 with The Boy's Own Story and thence Under Milk Wood in 1994 and Animal Farm in 1995. He first produced/directed in 1993 with Playing Burton and participated at the Edinburgh Festival for the first time in 1994. The following 25 seasons saw his association with many of Edinburgh's most celebrated hits, and his company has become the Fringe's most awarded independent theatre producer - garnering 8 Scotsman Fringe Firsts, 3 Herald Angels, 25 Stage Award nominations (including 4 wins) together with numerous lesser awards. Guy was the force behind Edinburgh's 3 biggest grossing dramatic hits 12 Angry Men, One Flew Over The Cuckoo's Nest (2004) and The Odd Couple (2005). His 2009 production of Morecambe transferred to London's West End and won the Laurence Olivier Award for Best Entertainment - plus another nomination for the actor playing Eric). At Edinburgh 2014, his epic 30 actor production of Animal Farm with Tumanishvili Film Actors Theatre of Tbilisi, Georgia, won the Stage Award for Best Ensemble.
As a performer, he was nominated for The Stage Award for Best Actor for A Soldier's Song (1998). He won The Stage Best Actor in 2001 for Fern Hill & Other Dylan Thomas. He was nominated for Best Solo Performance for Under Milk Wood in 2003 and again for Shylock in 2011. In 2003, he also received Edinburgh's most prestigious accolade, The Jack Tinker Spirit of the Fringe Award. At Edinburgh 2016 he created his first overtly stand-up comic piece, Barking Mad! which then toured to Perth and Adelaide. At Edinburgh 2017, he directed Hollywood star, Michael Brandon in his debut stand-up piece Off Ramps. At Edinburgh 2018, along with performing A Christmas Carol, he co-wrote, produced and directedThe Marilyn Conspiracy. At Edinburgh 2019, he directed Owen O'Neill's brilliant black comedy, Shaving The Dead along with the smash hit of the Fringe The Shark Is Broken - the back story of the making of Jaws, starring Ian Shaw, Rober Shaw's son. This was due to transfer to London's West End in May 2020, however, due to Covid-19, it has been postponed to 2021.
His theatrical commitments have largely kept him out of mainstream film and television, however, he has made the obligatory appearance on Casualty (Christmas Special 2004) and has been the Franziskaner Monk - the main character of the premium German beer - since 2007. He also writes plays, screenplays and poetry.
His passion is to bring great ideas to life and new talent to the stage.
He is married to Brigitta and father to Indigo and Tallulah...

NICK HENNEGAN - Adaptor & Director
Nick's first professional outing as a writer and director was a one-person version of Shakespeare's classic, Henry V - Lion of England which hit at Edinburgh 1992, Stratford-upon-Avon and toured the USA, Ireland and the UK. . His second Shakespeare adaptation, Hamlet - Horatio’s Tale, featured Sir Derek Jacobi. Both were reprised at Edinburgh 2018 (starring Kizzy Dunn) to great acclaim. His domestic ghost story, A Ghost Of A Chance, won a Guinness Award through the Royal National Theatre; and P.A.L.S., a tragicomedy about four friends growing up in Birmingham, attracted critical acclaim and record audiences in the city, and was reprised at Edinburgh 2019 along with his new adaptation of Romeo & Juliet.
He established Maverick Theatre Company with musician Robb Williams in 1994. Launched by the Lord Mayor of Birmingham, it was the city’s first regular producing pub theatre. He has written, produced and presented numerous radio documentaries including Images From Within and Susan And Friends (Sony Radio Award Winner) and The Pocket Guide to Rock (24 part series for Global Radio) and presented for numerous commercial and BBC radio stations in the regions and in London. He wrote and directed the short film Boy Girl Boy Bike and has written numerous TV commercials for Birmingham Cable/Telewest/Virgin Media. He also won an erotic fiction award for a short story with Chrysalis Books, and has written theatre reviews and articles for numerous publications. His acclaimed four-person adaptation of Dickens’' A Christmas Carol enjoyed sell-out runs in Birmingham and London, and he adapted and directed this solo version with Guy Masterson. He edited Confessions Of A Butcher Boy by Norman Raybone and released a stream of consciousness diary from 1997 about running a theatre company, How to Make A Crisis Out Of A Drama! He wrote and directed the theatrical promenade tour, The London Literary Pub Crawl which is running in the West End of London. For International Dylan Thomas Day in 2015 he produced The Roaring Boys.
He was nominated for a millennium Creative Briton award, has an MA in Creative Producing from the University of London, and won a Society of London Theatre, Stage One bursary award.

Robb has always been passionate about creating music and started his first band at Art College in Maidstone whilst studying for his degree in illustration. That was during the heady days of Punk where he was "forced" into playing guitar, but his real love lay in the burgeoning world of electronic music so Robb quickly moved onto keyboards, performing and composing with several bands around the Midlands.
Robb's first foray into the world of composing for theatre was for Nick Hennegan's Henry V - Lion of England, a one man adaptation of Shakespeare's classic play. Robb toured extensively with the show playing the music live during the performance. The collaboration proved highly successful and led to Robb and Nick co-founding the award winning Maverick Theatre. Over the years Robb has scored many productions for Maverick including Hamlet & Horatio's tale, A Ghost Of A Chance, Birmingham People's Company production of Henry V and Hancock's Finest Hour. Robb's reputation for being able to compose and arrange to tight deadlines led to regular work as a composer for TV advertising and documentaries.
Robb has now returned to his native Cornwall where he lives with his wife Natalie, children Jamie and Lauren and a scruffy Jack Russell called Harry. Robb divides his time between composing and arranging music, multimedia design and running the award winning Iconik Photography with Natalie.

Charles Dickens was born in 1812, in Portsmouth, England. In 1822, the Dickens family moved to Camden Town, a poor neighborhood in London as the family'’s financial situation had grown dire. His father, John Dickens was sent to prison for debt in 1824, when Charles was 12 years old. Charles was forced to leave school to help support his family by working at a run-down, rodent-ridden boot-blacking factory alongside the Thames. He earning six shillings a week labeling pots of “blacking” - a substance used to clean fireplaces. Dickens saw this as the moment he said goodbye to his youthful innocence, wondering how he could be so easily cast away at such a young age, abandoned and betrayed by the adults who were supposed to take care of him - sentiments which became a recurring theme in his writing. He started writing when he had to drop out of school to work as an office boy to contribute again to his family’s income but he was soon reporting for two major London newspapers. In 1833, he met Catherine Hogarth (Kate), whom he soon married and had 10 children. Dickens also started publishing Bentley's Miscellany Monthly in which he serialised his first novel, Oliver Twist. The novel was extremely well received in both England and America where dedicated readers of Oliver Twist eagerly anticipated each monthly instalment. From 1838 to 1841, he published The Life and Adventures of Nicholas Nickleby, The Old Curiosity Shop and Barnaby Rudge, The Life and Adventures of Martin Chuzzlewit and A Christmas Carol. In 1842, Dickens embarked on his first US tour and became an instant celebrity. His 75 readings netted an estimated $95,000, which, in the Victorian era, amounted to approximately $2 million in current U.S. dollars. From 1849 to 1850, Dickens worked on David Copperfield, his personal favourite work. During the 1850s, Dickens suffered the deaths of his daughter and father and, in 1858 separated acrimoniously from his wife of 35 years and took up with a young actress named Ellen “"Nelly"” Ternan... but he was very careful about leaving any hard evidence of this relationship. His novels also began to express a darkened world view: Bleak House (1853); Hard Times (1854); Little Dorrit (1857); A Tale of Two Cities (1859) and Great Expectations (1861), which is widely considered to be his greatest literary accomplishment. A few years later, Dickens produced Our Mutual Friend (1864) In 1865, Dickens was in a train accident from which he never fully recovered, though he continued to tour until shortly before his death. After suffering a stroke, Dickens died at age 58 on June 9, 1870 at his country home in Kent, and was buried in Poet’s' Corner at Westminster Abbey. At the time of his death, his final novel, The Mystery of Edwin Drood, was unfinished.

Performer's Note
I'm ashamed to say that over 50 years of life, I had not seen or read Dickens' classic Christmas Carol in any of its forms - including the Muppets!... and then, in 2016, Nick Hennegan of Maverick Theatre Company asked me to read it in front of 180 guests at the newly restored Fitzrovia Chapel in London and I was entirely enchanted - as they were. So I decided to commit it to memory and offer it as a new show in my particular physical storytelling style - playing all the characters myself!It really is a great story and, in our commercial, consumeristic society, a timeless reminder of what Christmas is really about. I am thrilled at the prospect of many a great festive night sharing this classic fable with audiences or all guises and ages!
Guy Masterson

Director's Note
I set up Maverick Theatre to encourage new audiences among those not previously exposed to live theatre. I particularly enjoy making classic texts accessible, such as famous Shakespeare titles and Dickens...
I've been living with Dickens' Ghosts since, as a small boy in Birmingham, I was given a young person's edition of the classic. Every Christmas, I'd faithfully read it, ensuring I finished the last chapter on 24 December.
And I hope you will feel some of the same magic I felt. Storytelling is a powerful art and adding a technical dimension to it makes it even stronger, particularly when working with a talent like Guy Masterson - a towering storyteller with an international reputation.
Nick Hennegan

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Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)

Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)

Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)
Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)
Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)
Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)
Guy Masterson in A Christmas Carol (Image: Brigitta Scholz-Mastroianni - Nux Photography)

Christmas Carol Tek Specs - click to download

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A Christmas Carol can play in any space ranging from pub spaces, restaurants and private living rooms.

All performances will require one technician to operate sound

In all theatres, sound and lights will require TWO technicians.

To View or Download Technical Specifications click here

LX 75 LX Cues
A: Centre Spot Special (Steel Blue Lee 117)
B: Warm Wash (Middle Wash) (Chocolate (Lee 156)
C: Warm Wash (Full Wash) Chocolate(Lee 156)
D: Near Vertical Special (Steel Blue Lee 117)
E: Cold Wash (Steel Blue Lee 117)
F1, F2, F3: 3 Steel Blue Birdie Floor lights (Steel Blue Lee 117) (seperate channels)
F4: Red Birdie Floor light (Red Lee 106)
SFX Qlab provided on Mac Laptop 100 cues.
Good Amplification and Speakers with fold-back. (This can be provided for Pub Spaces & Living Rooms.)
NOTE: A lapel mic is required run through an effects processor to provide 3 reverb and echo effects. Please inform if this cannot be provided.
Script Provided by artist on the day - to be operated by two in-house operators. Please contact us if you would like us to send you a script in advance

A CHRISTMAS CAROL FULL SHOW runs 85 minutes plus an interval (45 & 40) - OR you may have the shortened show without an interval (70 mins straight through)


Guy Masterson generally travels alone with scripts, laptop for SFX.
If travelling by car, he will bring chair. If travelling by ticketed transport, please provide chair (image below).


The show requires only a bare, clean, open stage wth clean black tabs.
Minimum playing area is 4 meters wide by 3 meters deep. This is compact. Larger is preferable. Suitable for auditoria ranging from the intimate (100 seats) to the large (1500 seats).

1 hook on 7m of black cord (provded) suspended from grid

Clean black flooring, tabs & backdrop are required. If the floor is very scuffed, please repaint or lay dance floor.

Space Required Min 4m wide x 3m deep - Max 6m x 5m (lit space)
Set up & Rehearsal Approximately 3 hours depending on the size of the space.

Under Milk Wood ChairImage of wooden chair required
when company is travelling by Public Transport