Review: Elf on Broadway is a Holiday Delight Even the Scrooges Will Enjoy

More than 10 years since its last turn on Broadway, and following numerous regional productions and tours, Elf the Musical has returned to the Big Apple, packing seats with delighted children that–to the chagrin of their parents–will undoubtedly cheer “Santa!” every time the jolly old man (Sean Astin, of Lord of the Rings) graces the stage at the Marquis Theatre.

With a book by Thomas Meehan and Bob Martin and score by Matthew Sklar and Chad Beguelin, the adaptation of the beloved Will Ferrell film stars Grey Henson as Buddy, a human who has spent all of his life in the North Pole believing himself to be an elf (despite standing four feet taller than them all). When Santa breaks the bad news, Buddy embarks on an epic mission to meet his father, Walter Hobbs (formidably played by Michael Hayden), a cold-hearted Grinch-type of executive in New York City.

Whereas Buddy’s film counterpart may come off as humorously cringe-inducing, Henson’s take is joyfully loveable. He has mastered a sort of nonchalant absurdity in Buddy’s personality, which feels more inviting, giving audiences no choice but to root for him, even when he unknowingly wreaks havoc. In a welcome departure from previous productions I’ve seen, Henson’s Buddy does not fall into the unfortunate category of a distasteful caricature of neurodiversity, proving that the humor in Meehan and Martin’s script does not have to come at the cost of integrity.

Child actor Kai Edgar steals the show as Buddy’s half-brother Michael, shining alongside Ashley Brown as his mother Emily. Edgar’s vocals easily match the skill and technique of his seasoned Broadway costars, and when blending in duet with Brown’s inviting vibrato, it sounds like a choir of angels. Kayla Davion, portraying Buddy’s love interest, Jovie, takes the stage early on and offers sardonic humor, but does not sing until nearly the second act. Her “Never Fall in Love (With an Elf)” is a treat worth waiting for that brings down the house. Kalen Allen (as the Macy’s store manager) and Jennifer Sánchez (as Walter’s secretary) are comic standouts, and no joke fails to land.

Through Philip Wm. McKinley’s direction and Liam Steel’s choreography, the entire cast delivers holiday cheer through every lyric and dance step. Steel offers the exact kind of classic Broadway vibrancy that has been seen less and less in recent years, with plenty of jumps, kicks, and spins, as well as tap dancing and jumping rope with garlands. Tim Goodchild’s sets nod to New York City culture at Christmastime, with Central Park’s Tavern on the Green alit with twinkling lights and the Macy’s department store decorated to the nines.

The projection design by Ian William Galloway and Mesmer Studios is unfortunately a detriment, oftentimes looking distractingly like a holiday-themed screensaver. Goodchild makes up for this in spades with stunning backdrops of Hobbs’s sky-high corporate office boasting minty green walls that climb up nearly to the rafters, and a Chinese restaurant that features two larger-than-life emerald dragons sprawling around a window.

At times, Sklar and Beguelin’s jazzy, brassy score feels a little trite, as if it were an amalgamation of other jazzy Broadway successes of yesteryear, though one can’t be blamed for following a tried-and-true recipe, as each song is irresistibly toe-tapping. The brass section booms through every final chorus, with each song concluding with the toot of a horn. Elf’s lyrics are one of the show’s greatest strengths, never feeling forced in their rhyme schemes. The musical’s pacing is also some of the strongest currently on Broadway, with songs and spoken scenes flowing naturally in and out of focus.

Though at times this Elf can feel like Charlie Brown’s droopy Christmas tree, it ultimately triumphs easily and shines as bright as the Rockefeller’s. And a surprise at the end is well worth the trip to the Marquis. It made this jaded critic believe in Santa Claus again for one glimmering, ephemeral moment of theater magic.