By Alisha Hagey and Jason Hagey
Pioneer Theatre Company (PTC) in Salt Lake City, Utah, has always been a bastion of excellence, but with Elf the Musical, they have outdone themselves. In 2003, Jon Favreau and Will Ferrell brought David Berenbaum’s delightful screenplay to the movies. The film was an instant Christmas comedy classic that garnered box office and critical success. In 2010, Bob Martin and Thomas Meehan adapted the screenplay into a Broadway play with a score by Matthew Sklar and Chad Beguelin. PTC takes the incredible film and theatrical genetics and transcends them with this brilliant production.
As an orphaned baby, Buddy crawled into Santa’s bag and then whisked away to the North Pole, where the elves raised him as one of their own. At the age of 30, Buddy learns that he is a human whose mother died shortly after his birth and whose father is still alive in New York City, utterly oblivious to his having another son. When Buddy learns of his history, he also finds out that his father, Walter Hobbs, is on Santa’s naughty list. Thus, Buddy races to New York City’s famed Empire State Building, where Walter works in the children’s book publishing industry, and tries to build a relationship. Of course, everyone thinks Buddy is insane because of his elfish upbringing. Lucky for Buddy, though, not only does he find his father but his half-brother and stepmother too. Buddy discovers romance with Jovie, a cynical woman he meets at Macy’s department store. Learning that his birth family and New York City have become unbelieving about Christmas, Buddy seeks to help them remember the holiday’s true meaning.
The show opens with Jason Simon (Santa). I have never witnessed a Santa this good (not just costume-wise). Simon has perfect comedic timing. Within seconds he has the audience laughing as if he were at an open mic night. Simon’s improvisations are both specific and personal to his audience. He is so exceptional that during intermission, people behind us were talking about how they hoped they would get to see more of him. We fully agree with the sentiment and the second act doesn’t disappoint.
Max Chernin (Buddy) propels the show forward. Whether it is in his ear-to-ear smile, his believable joy at life, or his delightful dancing (he gives his movements such flare), he rockets this seemingly simplistic character into the Ted Lasso of Christmas. If anyone could make you believe in Santa, Chernin could.
Antoinette Comer (Jovie) is a delight. She belts with grace (her sustain in ‘Never Fall In Love (With An Elf)’ is incredible. The script doesn’t give Jovie a lot of development, but Comer finds a way to reveal the heart of Jovie and share it with us.
Mary Fanning Driggs (Emily) and Grant Westcott (Michael) make up Buddy’s stepmother and half-brother. Together they play off of one another – whether in longing to be a part of Walter’s life or in believing in Santa Claus – they are just honest. In simple plot-based musicals, characters like this are often just set dressing. But there is something so touching about Driggs and Westcott. They play sincerity in the midst of all of the glitter and glitz. They are a charming and even touching pair. Additionally, Driggs delivers one-liners with some of the best timing of the whole show.
David Baida (Store Manager) is an unexpected delight. He is charming and delightful. Whether he is worried that Buddy is a corporate spy or taking on the role of the “big man in red” himself, Baida finds the humor and delivers.
As Buddy’s biological father, Christopher Gurr (Walter) has a beautiful way of being both despicable and empathetic. Gurr transforms throughout the show from hard to soft, but the believability of that transformation would be tricky, even disastrous, in less capable hands. Gurr understands his character and makes sense of Walter from the very beginning.
For his PTC directing debut, Alan Muraoka is delightful. Possibly because he comes to direction from the point of view of an actor, or perhaps because of his long-time collaboration with Sesame Street, Muraoka knows just how to enchant his audience. Engaging stage pictures, fantastic transitions, and perfect comedic beats were all deftly handled by Muraoka. Children in the audience were spellbound. Walter says that he is basically a good guy at one pivotal moment. A young child in the audience was so captivated by that scene that he called out, “No, you’re not!” Muraoka has this incredible way of connecting with the target audience without pandering. He finds the joy in each moment and lets us hold on to it, like a hug from Buddy himself. He held each of us spellbound in Christmas cheer.
Rommy Sandhu (Choreographer) doesn’t miss a beat. The dancing is perfect. It pushes the story and the feeling forward. There are impressive moments but nothing that upstages the tenor, nothing that pulls you away. Each move helps the story and teaches us about the characters. There is something so joyful in the choreography. You can’t help but smile and tap along.
It is rare that we as an audience get the chance to have live accompaniment these days. Tom Griffen (Musical Director/Conductor) does a brilliant job. His pit orchestra is perfect, and the moments Griffen has the actors emphasize are a joy. A child sitting in front of us couldn’t help but conduct along with the overture. Perhaps an up-and-coming new musician has been born. People left humming, ‘Happy All The Time.’ You know the music works when the audience wants to sing along and join the fun.
PTC has a history of bringing in crazy-amazing talent. James Kronzer (Scenic Designer) blows Elf’s set out of the water. He uses the fly system to its best, creates various locations, and forms such beautiful moments that you are at once mesmerized and filled with a desire to go there. Kronzer opens the show like witnessing a large and beautiful snow globe. Everything only gets better from this moment on.
Christina Watanabe (Lighting Designer) compliments each moment and scene with an over-the-top and exciting design. The use of layered gobos alone is well worth the time to attend Elf. The lighting is alive throughout, a character unto itself, and causes every moment to pulsate with pleasure and energy.
K. L. Alberts (Costume Design) nails it. Each costume and each intricate piece produce such a delicious tone. I love Jovie’s coat in the second act. It is playful and reminiscent of the elves’ costumes while still being New York chic. As well, the array of Santa’s on parade during ‘Nobody Cares About Santa’ is the chef’s kiss. Alberts is incredible and never ceases to amaze.
Whether you are already in the Christmas spirit or need a boost, Elf is a delightful way to kick off or fuel up your Christmas season. It is sure to delight and entertain audiences of all ages. If you want to see delicious spectacle and delightful fun, hop in your sleigh and bring your belief in exciting plays to the Simmons Pioneer Memorial Theatre. It is sure to warm up the heart of any Grinch or Scrooge.
Language Disclaimer: There are a few moments of exclamatory language.
Pioneer Theatre Company presents Elf the Musical by Thomas Meehan and Bob Martin
Simmons Pioneer Memorial Theatre, 300 S 1400 E, Salt Lake City, UT, 84112
December 3 – December 18, 2021, Monday – Thursday 7:00 PM, Friday 7:30 PM, Saturday 2:00 PM and 7:30 PM
Tickets : $48-72 in advance, and $5 more when purchased on the day of the show
Contact: 801-581-6961
https://www.facebook.com/pioneertheatre/
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