The holidays are here. And if you need to get into the Christmas spirit, I suggest you buy, beg or bargain to get a ticket to see Buddy the Elf and his friends in the musical Elf which is playing at the Arkansas Rep through January 4.
This frothy, fun, friendly show has but one aim – to entertain. And how it does succeed.
With a smart, witty, heart-filled book by Tony winners Thomas Meehan (Annie, The Producers, Hairspray) and Bob Martin (The Drowsy Chaperone, TV’s “Slings & Arrows”), the story works on several different levels. (Incidentally, Meehan takes a swipe at his other Christmas-NYC set musical Annie with a joke, while Martin seems to be aping The Drowsy Chaperone by having the story open with a man in a chair). The score by Tony nominees Chad Beguelin and Matthew Sklar (The Wedding Singer) ranges from toe-tapping to heartstring-pulling.
Elf is, of course, based upon the eponymously named film. Disclaimer – I’ve not seen the movie. I do not get Will Ferrell’s appeal, so steer clear of most movies starring him. But love of the movie is not necessary to enjoy the stage musical. The book, score, cast and production values take the audience on a wild sleigh ride of holiday fun regardless of familiarity with the source material.
As Buddy the Elf, Ethan Paulini is a chief reason for the show’s appeal. He is rarely off stage, and somehow manages to keep a high level of energy throughout. His ebullient Buddy is both naïve and knowing. Whether singing, dancing or acting, he never overplays the part or goes for cheap laughs. Through his performance, one believes that he really does charm his way into everyone’s hearts regardless of their age or gender.
As the object of Buddy’s affection, it is a joy to watch Alyssa Gorgone’s Jovie transform from guarded to glowing. She deftly handled her songs and dances. Gorgone and Paulini have a nice chemistry together as the court each other.
David Hess moves from blustery to boasting in his portrayal of Buddy’s dad. Anna Lise Jensen is a delight as his long-suffering wife whose struggle to find her own place mirror’s Buddy’s quest. As Buddy’s younger half-brother Price Clark is a joy to watch. He is neither precocious nor cloying. Instead, he is a believable kid who is concerned about his parents and is thrilled to have a new brother.
Tessa Faye stops the show as Deb the secretary as she comically aids Buddy and leads the office in a rousing production number. Kyron Turner and Tanner Wilson make the most of their scenes as harried employees hoping for a holiday miracle. J. B. Adams bookends the show as an avuncular, folksy Santa Claus.
From beleaguered New Yorkers to bored Macy’s elves to depressed Santas, the ensemble fill the stage with delightful characters. Hannah Eakin, Allison Stearns, Jason Samuel, Jimmy Kieffer, Anthony Bryant, Chris McNiff, Jack Doyle, Samantha Harrington, Tatiana H. Green, Marisa Kirby, Eric Mann, Kennedy Sample and Mary Katelin Ward have enough vigor, vim and verve to make the cast seem much larger than it actually is.
The elves are played by the younger members of the cast. These kids are having fun – and why not? They get to spend the show in two of the most magical settings imaginable: The North Pole and New York City at Christmas. They very ably perform their production numbers and create memorable characters without stealing focus from Buddy and Santa. Addison Dowdy, Gunner Gardner, Reagan Hodson, Anna Beth Jeane, Ethan Marbaise, Max McCurdy, Danny Phillips, Grace Pitts, Corbin Pitts, Niall Prochazka, Marisol Sela, and Madison Stolzer were welcome additions to the production. Most of these performers are seasoned veterans of the Rep’s Summer Musical Theatre Intensive. They show that their talent works in the wintertime too.
Nicole Capri directed Elf with a light, comic touch. She neither glosses over nor smothers the audience with the heart in the show, she trusted her performers and the story to bring it out. She keeps the show moving at a brisk pace while allowing for enough quiet moments that it does not seem frantic. Marisa Kirby’s creative, crowd-pleasing choreography put the actors through their paces. Together Capri and Kirby fashioned production numbers which allowed each performer to stand out as an individual character while still part of a seamless ensemble.
Elf’s magical world was ably served by Shelly Hall’s colorful costumes, Dan Kimble’s lighting, Allan Branson’s sound and Lynda J. Kwallek’s props. One of the joys of the show is undoubtedly the songs. Credit for that goes largely to Mark Binns, the show’s musical director. He leads the orchestra as they play the peppy, tuneful score. He also deserves credit for helping the actors maximize their sounds as they perform the songs while executing Kirby’s inventive choreography.
Though based on a 2000s movie, Elf is really a throwback to 1950s and 1960s workplace musicals. There are the buffoonly bullying boss, the comic-relief secretary, the dancing office boys and office girls, the disconnected wife and kids, and, of course, the outsider hero who saves the day and wins the heart of the leading lady. The show also offers dancing Santas, prancing elves, and a travelogue’s worth of New York City settings.
Elf doesn’t ask the audience to think too hard or to get wrapped up in cloying sentimentality. It merely wants to entertain as it allows the audience an escape from daily strife.
No matter your holiday of choice at this time of the year, the Rep is giving audiences a present with Elf!
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FDR’s visit to Arkansas had political implications as well. The late Senator Huey Long of neighboring Louisiana had been arguably FDR’s biggest adversary in Washington. Long was very popular in rural areas of Arkansas and had campaigned for Hattie Caraway when she ran for re-election to the Senate, to the dismay of many of Arkansas’ Democratic establishment. Harvey Couch had worked to bring about a detente between FDR and Long prior to the latter’s assassination in 1935. But between a lingering mistrust of FDR by Long supporters and discontent from some sectors based on New Deal programs, it was important for FDR to shore up Democratic support in Arkansas. At the time the state had nine electoral votes.
Little Rock Culture Vulture 