Theatre review: Miracle on 34th Street serves up holiday cheer with a bit of unexpected kick
Sleek design and witty performances help freshen up this Arts Club production based on the classic movie
Alex MacIsaac, Michelle Harrison, and Jay Hindle. in Miracle on 34th Street. Photo by Moonrider Productions
The Arts Club Theatre Company presents Miracle on 34th Street at the Granville Island Stage to December 29
MIRACLE ON 34th Street has been a holiday classic since its 1947 film debut, and the Arts Club’s latest staging, directed by Omari Newton, proves the story still has the power to surprise.
With its sleek design and funny performances, this production delivers the holiday cheer you expect, with just a little extra for the skeptics in the crowd to chew on.
Single mother Doris Walker doesn’t want any Christmas magic interfering with her six-year-old daughter Susan’s impressionable mind, which proves difficult when Macy’s—where she works—finds itself with a newly hired Santa Claus: a jolly elderly man by the name of Kris Kringle whose sole purpose seems to be spreading festive spirit, especially to the precociously skeptical little Susan.
Doris grows annoyed when her well-meaning neighbour, Fred Gailey, who’s smitten with her, joins Kringle’s mission to instill holiday cheer in both her and her daughter. Things take an unexpected turn when Fred ends up representing Kringle in a trial to determine his sanity, alongside the existence of Santa Claus.
As Doris, Michelle Harrison balances her character’s pragmatic, stoic nature with a growing openness. With Jay Hindle's grounded and earnest Fred, the pair's night-and-day dynamic is believable. Their romance, however, ultimately ends up feeling a tad rushed and forced (a successful and single mother might have been too progressive for the 1940s, after all).
The cheery department store Santa Claus, who may or may not be the real thing, is delightfully brought to life by a white-bearded Kevin McNulty, bringing the right mix of funny, self-satisfying seriousness and genuine warmth. His connection with young Susan (a charming Alex MacIsaac on opening night, alternated by Siggi Kaldestad) is particularly moving. MacIsaac is spot on, whether she’s politely turning down sitting on Santa’s lap or delivering the line, “I believe, I know it’s silly, but I believe.”
When it comes to belief, it’s hard to overlook that a big reason the spirit of Christmas (spoiler alert) wins over the tough, hard-knock residents of New York in the play has less to do with kindness or faith and more with convenience and personal gain; Mr. Macy champions Mr. Kringle as long as it means record profits, the presiding judge worries about how the ruling might affect his political image, and even the mailmen deliver the evidence that puts the case to rest, just to avoid giving themselves more work. While the messaging feels a little more cheekily satirical than what someone might bargain for in a Christmas classic, it provides plenty of laughs—especially with the cast’s full embrace of the exaggerated supporting characters.
Kevin McNulty, Denzel Onaba, and Julio Rod Marín in Miracle on 34th Street. Photo by Moonrider Productions
There's Raugi Yu as Mr. Macy and Ashley O'Connell as Mr. Gimbel, hilariously one-upping each other as rival store owners cut from the same greedy cloth. Nathan Kay is great, taking on three roles: Mr. Shellhammer, the head of the toy department on the verge of a breakdown; a no-nonsense judge with a heavy New York accent; and a scheming postman.
Tess Degenstein makes the most of smaller, equally funny roles—like the court stenographer, who enjoys the ridiculous intrigue of the case as much as the audience; Mr. Shellhammer’s plastered wife; and young Mortimer’s (played on opening night by a lovely Denzel Onaba) mother. Meanwhile, Julio Rod Marín energetically takes on the opposite roles of blunt prosecutor Mara and childlike janitor/elf Alfred.
Amir Ofek's scenic design is like an elegant pop-up Christmas card brought to life, but it’s not what you’d expect from typical holiday fare—everything's sleek, minimalist, and clean. An impressive, rotating circular runway keeps the action moving from one setting to the next, keeping up with that fast-paced Big Apple energy. The backdrops that remain in place emphasize a Manhattan cityscape filled with busy offices, crowded streets, and maze-like department stores. And the huge, festive pine at the center of the stage, doubling as Macy’s elevator doors, may be a subtle nod to the play’s more satirical undertones. Meanwhile, Alaia Hamer's time-capsule costuming is nothing short of impeccable.
There’s no flying reindeer or Santa magic to save the day. There isn't really even a big, flashy miracle. But there’s still something comfortingly sweet about it all. And between the heart and the humour, Miracle on 34th Street feels like taking a cozy sip of hot chocolate with a bit of an unexpected kick. 
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