[1][2][3] The original 1994 production was directed by Mike Ockrent with choreography by Susan Stroman, sets by Tony Walton, costumes by William Ivey Long, lighting by Jules Fisher and Peggy Eisenhauer, sound by Tony Meola, projections by Wendall K. Harrington, and musical direction by Paul Gemignani.

[2] Terrence Mann, Tony Randall, Hal Linden, Roddy McDowall (in his final role), F. Murray Abraham,[4] Frank Langella, Tim Curry, Tony Roberts, Roger Daltrey and Jim Dale have all played the role of Ebenezer Scrooge in subsequent productions of A Christmas Carol.

It starred Robert Lindsay as Ebenezer Scrooge, Alex Gaumond as Bob Cratchit, Carrie Hope Fletcher and her sister-in-law Giovanna Fletcher as Emily and Mrs Cratchit, Madalena Alberto as the Ghost of Christmas Past, Hugh Maynard as the Ghost of Christmas Present, Norman Bowman as Jacob Marley, Peter Polycarpou as Mr Fezziwig, and John Addison as Fred Anderson.

From 7 December 2020 a new production of the staged concert with the London Musical Theatre Orchestra opened at the Dominion Theatre during the COVID-19 pandemic where the theatre was socially distanced, starring Brian Conley as Scrooge, Matt Willis as Bob Cratchit, Jacqueline Jossa as Emily/Ghost of Christmas Future, Lucie Jones as the Ghost of Christmas Past, Sandra Marvin as Mrs Fezziwigg, Martyn Ellis as Mr Fezziwigg, Cedric Neal as Ghost of Christmas Present, Jeremy Secomb as Jacob Marley, Rebecca Lock as Mrs Cratchit and Sam Oladeinde as Fred Anderson/Young Scrooge.

Scrooge first encounters the three ghosts of Christmas in their real-world guises as a lamplighter (Past), a charity show barker (Present), and a blind beggar woman (Future) ("Nothing to Do With Me").

The Ghost of Christmas Past reinforces the character's signature theme of illuminating Scrooge's worldview ("The Lights of Long Ago").

Richards continued, "The eye is courted at every turn, the special effects come on a regular basis and the street scenes don't lack for warmly dressed bodies and the odd beggar.

"[2] Lawrence Van Gelder reviewed the 2002 production for The New York Times writing, "Music, dance, colorful costumes and atmospheric scenery – all intended to make holiday theatergoing a pleasant family experience – are marshaled here to satisfying effect."

"[4] Jeremy Gerard reviewed the 1994 production for "Variety" writing, "The show begins with a thunderous percussive explosion — rumbling organ, crashing cymbals, blaring brass — on Tony Walton's wraparound London cityscape set that's so big you could park Norma Desmond's mansion in there and never notice it."

With all its clanging clamor, the scene giddily recalls darker moments from both "Kiss of the Spider Woman" and "Grand Hotel.