Elf the Musical, directed by Philip Wm. McKinley and choreographed by Liam Steel, with book by Thomas Meehan and Bob Martin and songs by Matthew Sklar and Chad Beguelin opened on Broadway tonight, Sunday, November 17. See what the critics had to say below!
The production stars Tony Award nominee Grey Henson as Buddy the Elf, and Oscar nominee and Screen Actors Guild winner Sean Astin as Santa, rising stage star Kayla Davion as Jovie; Tony Award nominee Michael Hayden as Walter Hobbs; Drama Desk and Outer Critics Circle Award nominee Ashley Brown as Emily Hobbs; Kai Edgar as Michael; Jennifer Sanchez as Deb; actor and TV personality Kalen Allen as the Store Manager; and Michael Deaner as Little Boy.
Elf The Musical is the hilarious and heartwarming tale of Buddy, a young orphan child whose life is changed forever when he mistakenly crawls into Santa’s sack of toys one Christmas Eve. Raised by elves in the North Pole, Buddy’s enormous size and poor toy-making abilities make him realize he doesn’t quite fit in. When he discovers he is human, Buddy embarks on a journey to New York City to find his birth father and, in turn, helps the Big Apple rediscover the true meaning of Christmas.
Laura Collins-Hughes, New York Times: Henson, who was nominated for a Tony Award for his show-stealing turn as Damian in “Mean Girls,” makes Buddy utterly his own: sunny, darling, slightly unsettling. At the mention of tickle fights or snuggling, he emits a small noise that he doesn’t know is sexual, and moppets in the audience won’t either. That joke is aimed at the adults. It’s a tonic of a performance — the kind that makes you smile later, just thinking about it. The trouble is that Buddy is trapped inside “Elf the Musical,” a creaky adaptation whose two-and-a-half-hour length seems designed less to maximize audience enjoyment than to ensure there’s an intermission that people can spend buying merch.
Matt Windman, amNY: While “Elf” can still hardly be considered a great or even good musical (many songs that fail to leave a lasting impression and loads of clunky comic business), the new Broadway production is, I must confess, a crowd-pleasing, feel-good delight that is presented with genuine showmanship, including expansive dance choreography by Liam Steel, whimsical digital projections, and (in a feat reminiscent of the “Back to the Future” musical) Santa’s sleigh flying high above the audience. There are also, of course, obligatory bursts of snow throughout the theater.
Adam Feldman, Time Out New York: Christmas has come early to Broadway this year. Previous productions of the family-friendly comedic yuletide fable Elf The Musical, though pleasant enough, have seemed short on the very Christmas spirit—an ineffable sense of animating joy—that the musical is about. Its current revival, however, is another story entirely. To be honest, I wasn’t eager to see Elf get taken down from the shelf yet again. But my grinchiness soon vanished, to be replaced with a big wide grin. For the first time in my experience, this show is really elfin’ good.
Tim Teeman, The Daily Beast: Elf: The Musical passes an important test of a seasonal Broadway show. It passes the wide smile/slightly moistened eyes/ridiculous amount of falling snow test, and—more significantly—passes the far more difficult actually-not-annoying-for-kids-and-adults test.
Greg Evans, Deadline: Elf The Musical, the cheery – very, very cheery – revival opening tonight for a limited holiday run on Broadway, is an entirely suitable gift from a hard-working cast for fans of the well-liked 2003 Will Ferrell Christmas perennial. If you crack up at memories of Mr. Narwhal (here represented by a large tusk rising from the orchestra pit as the conductor intones, “Bye Buddy, hope you find your dad!”), Elf has your tinseled name on it.
Caroline Cao, New York Theatre Guide: Not to sound a little salty, but Elf The Musical (directed by Philip WM. McKinley) can overstuff itself with misfired quips upon quips, mistaking fluff for quality. Trading sincerity for schtick can deflate the humor (often nostalgic nods to the movie) when desperate to grab laughs. Although the musical is critical of the corporate grind of Christmas, a referential script can border into product placement. High-wattage star Sean Astin, as Santa Claus, finds his charms trapped in cloying references — ironically underlining how Astin himself effectively doubles as corporate antagonist Mr. Greenway.
Steven Suskin, New York Stage Review: Any production of Elf necessarily rests on the shoulder of the fellow in the oversized elf’s costume. (As those familiar with the plot are aware, Buddy the Elf is not really an elf, if there be such a thing as a real elf; rather, he’s a human raised by elves and exiled from the North Pole to midtown Manhattan.) Unlike prior Buddys we’ve seen—drama critics who stick around long enough tend to revisit plays and musicals, like it or not—Grey Henson has the soul of one of those old-fashioned musical-comedy comedians, striving for and achieving laughter on a moment-by-moment basis.
Bob Verini, New York Stage Review: Buddy, the 30-ish human raised as an elf at the North Pole but now thrust into the real world, could be insufferable in the wrong hands. He must burst into every scene full of glee and naive wonderment, yet every bouncing ball must roll to a stop once in a while. Even more than original star Will Ferrell in the film, Grey Henson knows the value of stillness. He can warble and kick up his heels with the best of them, but just as suddenly utter a sincere sentiment to touch the heart. You’re never sure when he’ll dial things up to 11 or simply listen and react, which keeps his performance interesting from start to finish.
Average Rating:
66.7%
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