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A dancer dressed in heavy layers of cloaks and a skull mask with large grey wings.

Beneath The Mask: The Costumes of A Christmas Carol

We caught up with Northern Ballet’s fabulous dancers and Senior Wardrobe Manager Mikahla Pye to chat about all things A Christmas Carol. From Spooky Ghosts and complex costume changes, there’s more to discover beneath the mask.

Written by Northern Ballet

 

The costumes

Northern Ballet hasn’t performed A Christmas Carol since 2013. Ten years is a long time for costumes, did they need much refurbishment?

Mikahla Pye: We’ve refurbished the original 90s costumes of the Ghost of Christmas Yet to Come and Jacob Marley. It took us around two to three months, they’re huge —especially the Ghost of Christmas Yet to Come.  He was originally supposed to be on 3ft stilts but with each boy around 6ft anyway, that would’ve been terrifying!

Joseph Taylor: Huge is the best way to describe them. Every step requires careful maneuvering so the costume doesn’t trip us up!

A dancer dressed in a grey, aged mask and heavy chains around a Victorian suit, reaching into the air.

Andrew Tomlinson as Jacob Marley in A Christmas Carol. Credit Emily Nuttall.

A dancer dressed in heavy layers of cloaks and a skull mask with large grey wings looms over a dancer dressed in a white nightgown as Scrooge. In the background a figure in a top hat looms on a raised platform.

Jonathan Hanks and Andrew Tomlinson as Scrooge and The Ghost of Christmas Yet To Come in A Christmas Carol. Credit Tristram Kenton.

The costumes complete the character, but how is it to wear them?

Mikahla: The chains are heavy, they’re made of rubber. They need to look right, so they need that heft. They’re around 3m long and very cumbersome to hold, but we attach them to the dancer so they don’t trail and are safe. Even so, it’s a weight to carry!

Andrew Tomlinson: I often make sound effects to help with movements which I can do on stage because my face is covered with a mask. One challenge is to keep my arms up and constantly moving during Act Three, so by the end, my arms really ache!

Harry Skoupas:  The moment you put on the costume, it’s impossible not to feel the transformation. The costumes do so much of the storytelling for you — they carry a sense of mystery, power, and in Marley’s case, tragedy.

Jackson Dwyer: Most of all, they’re hot! As soon as I get offstage, one of the amazing wardrobe team has a fan, towel, and water ready.

A timeless tale

How do you feel playing such eerie characters? Is it difficult to get yourself into the role?

Joseph: These costumes make us instantly recognisable, and there’s no mistaking who we’re meant to be. All the layers really add to the eerie movements and the effect on stage is haunting! The Ghost of Christmas Yet to Come is especially terrifying up close, with a hooded skull, foot-long skeletal fingers, and feather-like wings — it takes us nearly 10 minutes to get the costume on!

Harry: There’s a lot of detail involved, and every bit of human skin has to be fully covered so that you look like a mystical creature on stage.

Jackson: The movements are very floaty and the costumes are well designed so once you’re on stage you feel you are the character.

A dancer dressed in a floaty white dress and flower crown with flowing blonde hair stands on a window sill above a dancer dressed in a nightshirt as Scrooge.

Jonathan Hanks and Saeka Shirai as Scrooge and The Ghost of Christmas Past in A Christmas Carol. Credit Tristram Kenton.

A dancer dressed in a old nightshirt as Scrooge stands watching a dancer dressed in red trousers and a long green cape adorned with ivy and greenery. The cape floats out dramatically as he walks across the stage.

Jonathan Hanks and Harry Skoupas as Scrooge and The Ghost of Christmas Present in A Christmas Carol. Credit Tristram Kenton.

A dancer dressed in heavy layers of cloaks and a skull mask with large grey wings.

Andrew Tomlinson as The Ghost of Christmas Yet To Come in A Christmas Carol. Credit Emily Nuttall.

What makes A Christmas Carol so unique?

Joseph: Performing in A Christmas Carol is a special experience as no other major ballet company tells this story through dance. It’s a privilege to bring such a heartwarming tale to life for audiences. Hearing their reactions during and after the show is always such a reward.

Jackson: For me, singing multiple songs in every performance makes the ballet totally unique.

Harry: A Christmas Carol is timeless because it’s more than just a story — it’s a reflection on the choices we make and the impact we have on others. Northern Ballet’s version captures that beautifully. The ghosts themselves are so creatively realised, both in choreography and design, that they feel like distinct characters in their own right. It’s a holiday tradition that resonates with audiences of all ages.

Book tickets

Northern Ballet’s A Christmas Carol is at Leeds Grand Theatre from Tue 17 December 2024 – Sat 4 January 2025.

As the clock strikes midnight join Ebenezer Scrooge on the journey of a lifetime to discover the true meaning of Christmas. Travel with the ghosts of Christmas past, present and future through family firesides, cold winter nights and the promise of a brighter future. A festive feast for the senses, Northern Ballet brings one of the most loved stories of all time to life.

Book now