Elf Jr The Musical

The musical version of Elf started life in 2010 based on the highly successful film of the same name made in 2003.   In the 12 years since then it has become a popular alternative to traditional pantomime as a seasonal entertainment.    Adapting the film for the stage has resulted in substantial changes so that the story can be accommodated without the extravagant sets and environs available both in the studio and on location, and a pruning of characters has kept the action compact.  This junior script is an ideal vehicle for schools and youth groups, and so it was a pleasure to see Kidz R Us taking up the challenge of staging it.  

The set was a glitter fest of sparkling silver from top to bottom; even the normally black stage had been transformed to a snowy white North Pole.  With no tabs to mask it the set can be considered at leisure and the details of the transformation admired.  The elevated side platforms held large illuminated red and gold parcels leaving room for performers to make occasional visits; the screens showed images of the familiar Elf posters that introduced green to the colour scheme; oversized red and white candy canes decorated the silver flats; stylised cone-shaped Christmas trees dotted the corners of the stage and the balcony, while snowflake motifs hung around the auditorium; icicle drop lights, twinkling curtain lights and a slow-moving break up gobo gave the impression of snow falling - the effect was enchanting.  

A minimum of furniture stood ready - just a throne-like chair and four trellised benches, which were surrounded by inviting-looking soft boxes of toys, and in the centre between the steps to the top deck was a mini-trampoline, disguised as a huge red-wrapped present, that allowed Buddy to make an impressive bouncing entrance to the main stage.  As the story progressed the cast themselves brought on various pieces, Buddy’s vertical bed (clever), office desks, and shop counters, a curtained archway to the North Pole and full-sized Christmas tree.  On the upper level a sofa and sideboard indicated the Hobbses’ home and we saw a magnificent Santa sleigh in red and gold that bobbed as it tried to lift off.  These all came and went manhandled through the entrances with apparent ease and fine timing, to avoid holding up the action.

The lighting was bright and colourful to reflect the feel-good mood of the show and with the range of equipment you have it is not surprising that there were no dark corners or unlit faces.  The colours bounced off the silver glitter flats to give a sparkle to all the big movement numbers.  Cues were timely and changes supported by the differing pictures on the screens as Buddy made his way south through the frozen wastelands to New York city and his father’s modern office and boardroom before visiting Macy’s - we saw a full department store inside and out, dad’s home, which, although played on the upper deck, was extended downstairs with bookcases on the screens, the Rockefeller Centre (enhanced by clouds of dry ice swirling over the surface of the stage) and Central Park.  (Did I say a stage show couldn’t use all the locations of a film? Those screens really do allow you to get around.)

A full orchestra backing track is part of the Junior package and provides a wonderfully professional sound that helps drive the energy of the cast so that company numbers with so many mics on stage have a rousing and engaging delivery.  While the vocal numbers seemed well balanced most of the time from where I sat, I found that the mics were sometimes a bit too quiet to hear clearly without the utmost concentration but I do appreciate the difficulties of finding the right settings so that all areas of the audience can hear everything clearly. Father Christmas’s opening lines seemed to get lost inside her beard but that character was duly replaced by the perfectly audible Miss Greenaway. Lovely use of reverb on the mic as the store manager made his announcement to the staff and the sound effects of telephone and office shredder were the right level and on time.  

The subtle American accents were well maintained whether singing or speaking and were well used to indicate character.  The vocals were delivered with great enthusiasm and confidence by everyone, in a tuneful and energetic way, fully engaging with the audience using both body language and eye contact, whether in a solo song, featured lines or ensemble singing.   Opening notes and words were crisp considering there is no MD waving a baton at the performance, and cut-offs satisfyingly clipped; evidence of emerging musical awareness and dedicated rehearsal.

I never fail to be amazed by the dedication of the props team who go to some effort to provide the huge number of props, some of which appear only fleetingly.  We saw a wealth of toys in Santa’s Toy shop plus a Buddy book, a good stage-sized snow globe, several Etch A Sketches (a now iconic gadget dating from the early ‘60s - was that what gave you the idea to costume the show à la that era?), an office-ful of paraphernalia to keep the ensemble busy, likewise Macy’s with goods for sale, decorations to bedeck the tree and stepladder to assist, a grand queue rope on brass stands set in an instant and struck as swiftly, sparkly clipboard for the manager, hula hoops, a beautifully detailed hot-dog stand complete with hot-dogs and ketchup bottle, the inventive inclusion of hip flasks and monogrammed sacks within the choreography, Santa’s glittery iPad, reporter’s microphone, briefcases in a variety of colours, snowballs, and the tiny detail of a Macy’s staff name badge.  I don’t pretend to have listed everything and you don’t need me to tell you - you know what you provided, but I do need to say they were carefully selected, skilfully and discreetly handled, (e.g. when did the poinsettia wreaths appear?  although I did see, and admired, the moment when Macy’s partly dressed Christmas tree was turned, during its repositioning, to reveal a fully decorated one) and every one added to the ambience and enrichment of its given scene however briefly featured.  Particular mention must be made of the broken windmill that was so expertly swapped by Buddy into a fine working model.  Though I expected it, the moment was very skilfully done with immaculate timing as he stayed fully engaged in the scene.  As always, hats off to the stage management team who have to have each prop ready to go promptly on cue.

What a feast for the eyes your spectacular collection of costumes was!  The opening scene of Elves on their knees was sheer joy boosted by the jingle of bells on the toes of their enormous bootees, and the boldness of the bright red and green colour scheme against the glistening frostiness of the set was perfect.  The addition of a full chorus of dancing sequinned Father Christmases was a delight.  Buddy’s arrival in New York changed the clothing style dramatically and we saw smart human daywear outfits in black and white with red and green accents, the ladies wearing hats, all with a period feel to them in my mind.  The office scenes enhanced this sense with tailored suits in strong primaries or ice cream pastels, and longer length dresses.  Mrs Hobbs was given a wardrobe of suitably ‘mumsy’ dresses and knitwear with archetypal pearl necklace, while Michael was presented as a typical American lad. Mr Hobbs looked businesslike and mature in his dark suit contrasting with the bright green of the Manager’s - to be taken less seriously.  I noted with glee the mothers and children in the queue to see Santa, dressed to perfection for not much more than a few seconds; likewise the hot dog chef, the authentic-looking security guards and policemen.  The fabulous fur-draped neon outfits of Miss Greenaway were eye-catching and remarkable - a masterstroke to give her two similar outfits in subtly different colours, the detail of the sunnies and matching briefcase/s drew from me a gasp of appreciation.  Deb made a real impact on me - the perfect secretary, but I believe it was her Edna Everage specs on a chain that completely sold the character; inspired.  Jovie always looked pretty and innocent in her various outfits as befits the heroine of the piece and who would have guessed that Buddy had so many changes of costume? … apparently always the green elf he had more leg wear than I could count!   Yellow tights seemed the least of it.   However conscientiously and meticulously each individual was arrayed according to character personality, it was the out and out extravagance of the company numbers that really took the breath away!  To see the stage full of red and white Christmas jumpers roller skating at the Rockefeller Centre was a magnificent finale for Act One - but that was only a taster!  Umpteen Santas dancing and carousing on The Green with comic choreographed fighting thrown in was another striking collection before we were treated to another Christmas jumper scene, this time in green and white, with beanie hats and body warmers, (loved Mum’s Gloria Swanson emerald turban with silver star) all spilling over onto the side gantries in an arresting Central Park sub-finale before the ultimate finale of red military coats and white fur Cossack hats - reversed for Jovie to a white/silver lame coat and red Cossack… wow!  A rival to Cecil Beaton’s Ascot Gavotte!  Costume really is your metier and the dedication with which you ply it to amplify the effectiveness of your shows is outstanding.  Congratulations to the backstage team who were kept constantly busy with so many quick changes - only one malfunction (to bring you down to earth) - a curious length of black fabric seemed to dangle from the back of Buddy’s outfit in Scene 9.

Make up was in perfect keeping for every character - rosy red cheeks for the Elves, fine moustaches for the mature men, bushy white beards for all the Santas, and otherwise glowing natural health.  With all the hats, caps and beanies being pulled on and off so frequently the hair underneath had to be suitably tidy and so it was, with Alice bands in costume co-ordinated colours to control flyaways.  Deb had a wonderful beehive bun piled on the back of her head that was just so right looking, slightly dishevelled like herself.

The choreography in this show was a mind-blowing romp from start to finish.  With hardly a moment of music in static delivery, it’s clear a huge amount of time and effort had gone into designing and coaching a variety of exciting scenes.  Huge congratulations on giving each number its own character, comprehensive use of the stage areas, and varied groupings.  Adding roller skating was fabulous and daring - and accomplished! The Santas’ routine was imaginative and the comedy fight within slick and entertaining.  It was impressive that the company were well drilled and able to deliver your stylish moves with confidence and gusto.  

Pulling this disparate list of observations together was a director with a disarming ability to entertain using every device at his fingertips, as well as drawing on the skills of his supportive team to deliver a complete melange - on time and with pizzazz.   From the moment the audience entered the decorated auditorium with its posters and Father Christmas-clad programme sellers, there was an expectation of Christmas magic.  The appearance of the stage was winter-enchantment so expectation was high!  The start of the show signalled two hours of escape and transportation to a fairytale land.  It was slick, it was tight, it was immaculately rehearsed and disciplined.  It is always amazing to see the youngest members of the cast performing, maybe in their first show, with the same appetite for being part of a team.  The pace swept along with no interruptions as the action moved from location to location aided by youngsters moving set and props around, negotiating entrances and exits without delay.   In their programme notes the Kidz all acknowledge the value of being members of the company and it is this ‘belonging’ that is centrally instrumental in creating the uniformly high standard they achieve.   Buddy, leading the show, was on the front foot throughout and given some challenging moments - a trampoline entrance, sleight of hand substitution, a scarily long silence of face and body acting - to which he rose with assurance and a boundless sense of enthusiasm and innate comic timing.  This musical was a treat from start to finish and everyone involved has every right to feel proud of whatever cog of the machinery was his or her responsibility.   

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