Theatre review: Elf: The Musical gives beloved holiday comedy an energized old-Broadway spin
Andrew McNee has big elf boots to fill—and he smashes this snowball out of the icepark
Andrew Wheeler and Andrew McNee in Elf: The Musical. Photo by Moonrider Productions for the Arts Club
Arts Club Theatre Company presents Elf: The Musical at the Stanley Industrial Alliance Stage to December 31.
ELF: THE MUSICAL, based on the beloved Will Ferrell film, brings the holiday classic to life on stage in a style that tips its hat to the golden age of Broadway musicals. Think tap dance, comedy, romance, and a stylized parade of eye-pleasing sets and costumes, in a show that’s packed with crowdpleasing fun.
By now, all but the Scrooges out there know the story of Buddy, a human who grew up alongside elves in the North Pole, with Santa as his father figure. Upon learning about his human origins, he travels to New York City to meet his biological father, Walter Hobbs, a hard-nosed business executive. Because of how absurd Buddy’s story sounds, and his super-charged enthusiasm about everything, he at first struggles for acceptance. But it turns out that his unfiltered spirit and sincerity are just what many of the characters need.
As Buddy, Bard on the Beach and East Van Panto veteran Andrew McNee has big elf boots to fill, given Ferrell’s iconic performance. And fill those curly-toed boots he does, smashing this snowball right out of the icepark. McNee portrays Buddy with sugar-high excitement and unjaded positivity, such as in his song “World’s Greatest Dad”, while knowing when to slow down for his character to reflect on his learnings from the human world—including discovering love.
As Buddy’s crush, Macy’s employee Jovie, Eva Tavares strikes the right balance between having her guard up and cautiously letting it down at times. And what a voice Tavares has. Her solo “Never Fall in Love” showcases the phenomenal singing chops behind her considerable comedic skills.
Andrew Wheeler is amusing to watch as Walter Hobbs, Buddy’s biological father who also happens to be on Santa’s “naughty list” for his workaholic behaviour and disdain for Christmas spirit. Wheeler is suitably gruff but likeable enough that it’s not a huge stretch for him to be re-enlightened.
Sharon Crandall and Rickie Wang make for a tremendously sweet pair as Walter’s wife Emily and son Michael. Young Wang, who already melted hearts as Tiny Tim in the Arts Club’s Dolly Parton’s Smokey Mountain Christmas Carol two years ago, brings full-on energy to his singing and dancing here, while forming endearing relationships with his parents, and his newfound half-brother Buddy. Like Wheeler, Crandall portrays her character as understandingly skeptical about Buddy at first, and it’s nice to see her character transform throughout. Crandall is a master of facial expressions and physical comedy, and the mother-and-son duet “I’ll Believe in You”, where the pair write a letter to Santa together, is touching.
As for Walter’s executive assistant, Deb, Meghan Anderssen is dynamite. She colours her character with fun personality and nails the choreography, complete with top-flight tap dancing. Also adding to the humour here is Tom Pickett’s Santa—kind-hearted and hamming it up in all the right ways.
The hard-working ensemble, including a chorus of children, really brings the story to life with their song and dance talents, including showing off Julie Tomaino’s Broadway jazz and tap choreography. “Nobody Cares About Santa”, a rousing tap number danced by a chorus of “Fake Santas”, and “Sparklejollytwinklejingley”, a spectacularly festive number that sees the Macy employees decorate the store, are two highlights. Cassandra Consiglio, whose smile radiates to the back of the theatre, and Hannah Henney, who lends some of her street dancing skills to the show, are two standout ensemble members.
Far from a straightforward movie adaptation, Elf makes the most of the musical-theatre genre—the songs advance the plot, and in this production the choreography and staging, under Stephen Drover’s direction, add to that momentum. The score, with pleasing music by Matthew Sklar and smart lyrics by Chad Beguelin, includes songs like “In the Way”, where during the song we’re caught up to speed on the Hobbs family problems (“I gotta work or feel the squeeze/Money doesn’t grow on Christmas trees”). And “A Christmas Song” furthers the relationship between Buddy and Jovie.
Overall, there’s a distinct classic Broadway look and feel to this show, despite it taking place in present day. Musical-theatre enthusiasts familiar with hits such as How to Succeed in Business Without Really Trying will recognize the familiarities with Elf’s cartoon-like New York City set pieces and the multiple desks void of modern technology like computers in Walter’s office, along with typical office-worker looks (think secretaries wearing pencil skirts). Along with Tomaino’s showstopping tap choreography, this throwback look feels pitch-perfect for a holiday production. Another memorable scene that needs to be recognized is the staging of The Rink at Rockefeller Center, re-created here thanks to set designer Brian Ball’s giant Christmas tree set, and the ensemble on roller-skates, giving the illusion of ice skating.
Photo by Moonrider Productions for the Arts Club
During the North Pole scenes, Ball’s work gives the show a Dr. Seuss storybook look. At the start of the show, Santa opens a set piece resembling a mega-sized book, to reveal his living room. And the sets and props for his workshop and the North Pole are vividly animated. The use of giant candy canes, children’s toys, and pastel colours bring to life a nostalgic, Rankin/Bass-flavoured North Pole.
Costume designer Christine Reimer has re-created Buddy’s look from the film, right down to his brass-buckle belt, yellow tights, and curl-toed elf boots. In a clever touch, the adult ensemble transforms into little elves thanks to miniature outfits attached to shoes that the cast members wear while performing on their knees.
Elf: The Musical is fun and heartwarming enough to please even the most diehard fans of the film. But on a deeper level, its messages of inclusion and staying authentic to oneself hit home right now. While Buddy is a human, he identifies as an Elf, and who are we to say otherwise?
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