Mid-way through Theatre Aquarius’ performance of Elf –The Musical, I realized I could not stop smiling. There’s enough word-play to satisfy the adults with children in hand, and there’s choreography and singing that ranges from the comic to Gee-Wiz! How do they sing and dance, so well, at the same time?!
For Elf novices (which I was before this production), Elf is a love story, wrapped inside a lost and found story. It begins with Buddy the elf (Brent Thiessen) learning from Santa (Neil Barclay), that he is a human, and that his father who lives in New York City is on Santa’s ‘Naughty List’. Buddy does what any lost elf would do; he walks south for 3500 miles to find his father. Fortunately, when he arrives in NYC it’s Christmastime. Not only is he seasonally dressed in his elf clothing, but stores are also decorating and Santas are proliferating. His father, however, has not caught the spirit; he believes that “Christmas always gets in the way.” It becomes Buddy’s mission to help his father and other NewYorkers begin to care about Santa Claus. Without telling more, I will say, “and therein lies the love story.”
The show is supported by a set that combines AV backdrops with traditionally built pieces on flies. The observant, or perhaps obsessive, may have noted that in this production Santa’s sleigh is supposed to be powered by belief, but as we see Santa flying over Manhattan there are reindeer pulling the sleigh. The acting is not only superb, it’s a series of high energy triple-threat performances. And the tap-dancing hearkens back to movies from the 1930s and ’40s.
Perhaps the most remarkable feature of Theatre Aquarius’ production is Brent Thiessen’s smile. He radiated light, love, and goodwill, which is what the season is supposed to be about. Go see Elf with the whole family!
Elf – The Musical is playing at Theatre Aquarius in Hamilton until December 24, 2018.
Bonnie Lendrum is the author of Autumn’s Grace, the story of how one family manages the experience of palliative care with hope and humour despite sibling conflicts, generational pulls and career demands. Autumn’s Grace is a powerful commentary on the need for well-organized and well-funded palliative care in private homes and in residential hospices.