REVIEW: A Christmas Carol, Theatre Royal, Bath. It's the first week of December, and time to face the inevitable the ghost of Christmas Yet To Come (in roughly three weeks' time) looms menacingly ahead.

But if you're lucky enough to get a ticket for Northern Ballet's dazzlingly effective re-working of the Dickens classic, under the direction of Christopher Gable, you should come away more joyous of spirit and springy of foot.

You may even manage to pirouette on your points throughout your Christmas shopping, as do the charming bonneted ladies of the chorus, or leap enthusiastically to greet the bells like the reformed Scrooge.

Jeremy Kerridge's memorable perfomance in the lead role was only one of the triumphs of the evening.

An engaging Bob Cratchit, a superb pas de deux between Young Scrooge and Belle, (and a comic one between Mr and Mrs Fezziwig), not to mention the three splendid ghosts and Tiny Tim's moving solo carol (by 10-year old Paddy Carroll from West Ashton) were just a few of the delights on offer.

Yes, I missed Dickens's dialogue for the first five minutes or so.

After that, the magic of Les Brotherston's evocative sets combined with composer Carl Davies's brilliant blending of traditional tunes replaced, or rather re-interpreted the text.

As for the dancing, the original is full of human interaction: think of the sliding on the ice, of Fezziwig's Ball, of the warm physical affection of the Cratchit family.

In a ballet version, these group scenes can, with skill, wordlessly and movingly convey the simple human enjoyment of being together at Christmas.

By contrast, the cold, grim Scrooge shuffles his way through grim alleys and courtyards against the backdrop of swirling fog, domes and spires.

Yes, it's corny in a way, but only because this classic tale has been re-worked so very many times.

I challenge the 'Bah, humbug' brigade to resist the charm of this vigorous, poignant version. As Tiny Tim says: "God Bless us, Every One!"

A Christmas Carol continues at the Theatre Royal until December 8.

By Sue Le Blond