Theatre Review by Ron Fassler . . .
The delightful Elf is a 2010 Broadway musical based faithfully on the 2003 film comedy of the same name. A perfect Will Farrell vehicle, Elf tells the story of a little orphanage boy who once upon a time crawls into Santa’s bag on the last stop of his rounds and winds up being raised by elves at the North Pole. As Buddy, the goofy and sincere 6 foot 4 inch Farrell spends the first part of the story surrounded by little people unaware he’s not really one of them. It’s the first of many gags that take him on a journey to New York City to find his real father (his mother died in childbirth). As a fish-out-of-water comedy it made for a wildly successful movie, now considered a Christmas classic. In fact, most in the audience at the Marquis Theatre, where the musical opened last night, were well ahead of the jokes, reveling as the best remembered ones were redelivered. This is de rigueur for the spate of films made into Broadway musicals that have continued unabated from the pens of musical theatre writers since the beginning of the 21st century. Is it coincidence or an homage that the final notes sung by the ensemble as the curtain falls on Act One in Elf are practically identical to the last notes sung in The Producers which, in 2001, ushered in this era of movies into musicals?
This is the second time Elf’s back on Broadway for a limited holiday engagement. In 2012 it returned with some members of its initial cast intact and now, in a production first done in England last year, we have a somewhat re-conditioned version under the finely-tuned direction of Philip McKinely, though his staging is based strongly on Casey Nicholaw original (Liam Steel contributes some nifty new choreography). A hit in London the past two holiday seasons it fits snugly here into the usually less-than-hospitable Marquis Theatre and charms with Christmas cheer. Okay, I’ll say it: You kind of have to be a Grinch not to let it work its magic on you.
The best reason for rejoicing is its main casting of Grey Henson as Buddy the Elf. A Tony nominee for his breakout performance as Damian in Mean Girls (2018), and most recently seen as one of the co-narrators in Shucked (2023), Henson is a joy from start to finish. Fey and faithful to Farrell, he brings to mind what Paul Lynde might have done with this part (though Henson has the far superior singing and dancing chops). He moves beautifully, has comic timing for days, and pulls off the toughest elements of the easily predictable plot. With inventive and surprising choices, Henson’s energy never lags and he truly delivers. What’s more, he works beautifully with the other actors and never stoops to hogging the spotlight for himself.
The jokes range from really corny to really good, the work of one of the great Broadway librettists, Thomas Meehan (Annie, Hairspray and The Producers, to name a few) and Bob Martin, “The Man in Chair” from The Drowsy Chaperone, a show for which he also co-wrote the book. Elf’s score is by the team of Matthew Sklar (music) and Chad Beguelin (lyrics), responsible for another movie adapted for the stage, The Wedding Singer, as well as The Prom, a thoroughly original musical. Elf’s songs are fun and clever and build properly in the manner to which Broadway was once accustomed. It’s a throwback in many ways and as someone still yearning for the sound of the sixties, once Broadway’s Golden Age, the nostalgia works wonders for my soul. The orchestra sounds amazing (and they’re in the pit like the old days) and its orchestrations by three-time Tony-winner Doug Besterman (one of the best) can’t be beat. Oh, and one of those Tonys was for The Producers, so guess I nailed it about those sound-alike last notes of the show.
The supporting cast all turn in fine work. I was won over by Ashley Brown in the role of Buddy’s potential stepmother, whose singing is nothing short of thrilling. Who would have thought a duet with young Kai Edgar, just right as her adolescent son, would produce a showstopper? No special effects, no big production number, just two people singing—what’s better than that? Kayla Davion, recently seen as a top drawer replacement in the title role of Tina—The Tina Turner Musical, delivers as Buddy’s love interest. Her powerhouse rendition of “Never Fall in Love with an Elf” was also met with prolonged applause. Michael Hayden as Buddy’s dad, seems to have been cast for a resemblance to James Caan who played the part in the film, and hits all the right notes in his Scrooge-like transformation. As Santa Claus (and doubling as the grouchy boss who provides a late in Act Two jolt to the story), Sean Astin makes an appealing Broadway debut. Other standouts include Jennifer Sánchez, Kalen Allen and DeMarius R. Copes. The entire ensemble shines.
If you love Christmas perennials like Miracle on 34th Street, It’s A Wonderful Life, and Die Hard (yes, it’s a Christmas film), then get on over to the Marquis Theatre and take in the cheer provided by this revival of Elf. They’re not serving egg nogg, but it’ll put you in the mood of chestnuts roasting by an open fire in no time.
Elf is at the Marquis Theatre, 210 W 46th Street, NYC in a limited engagement now through January 4th. For further information, please visit: https://elfonbroadway.com
Photos by Evan Zimmerman for MurphyMade.
Headline photo: Grey Henson as Buddy the Elf and Sean Astin as Santa Claus.
