BWW Reviews: Ocean State Delivers Undeniable Holiday Spirit with MIRACLE ON 34TH STREET, THE MUSICAL

Megan Wheeler and Brigid Fitzgerald.
Photo by Mark Turek.

There are a million different holiday traditions and every person has one of their own. Similarly, there are countless options for holiday entertainment, and everyone has a favorite. Many of the most beloved holiday movies have, over the years, been turned into musicals for the stage. From Dickensian classics to Capra's sentimentality to modern pitch-black dark comedies, there's something for everyone, now in musical form. Among these most cherished of holiday film-to-stage offerings is the classic Miracle On 34th Street, and the musical version is now making its New England premiere at Ocean State Theatre Company in Warwick.

Miracle on 34th Street, The Musical adheres closely to the 1947 film, which takes place between Thanksgiving and Christmas Day in New York City and revolves around the new Santa Claus at the famous department store Macy's. As the story begins, an intoxicated Santa is replaced by Kris Kringle, just in time for the big Thanksgiving Day parade. When he begins working in the store's toy department, he shakes things up quite a bit, first by recommending that parents go to other stores to find their child's present, then by claiming to be the real and true Santa Claus. Accusations of insanity, a courtroom drama and a wonderful twist ending quickly follow.

Besides Kris Kringle, the story also centers on Doris Walker, a cynical divorced woman who works at Macy's and hires Kris, Susan, her equally cynical daughter, and Fred Gaily, a lawyer who lives next door to Doris and may or may not have eyes for her. Kris' presence causes all three of them to question what they believe in, rediscover their faith and find love in each other and the holiday season.

In 1963, the musical version, at the time called Here's Love, premiered on Broadway. It was written by Meredith Willson, who had previously written the also-beloved The Music Man and The Unsinkable Molly Brown. Watching the production at Ocean State, the similarities between 34th Street and The Music Man were surprising but very evident. Both musicals, although clearly different in important ways, have a number of the same themes, characters and archetypes, as well as similar songs and dance numbers.

Like Willson's Music Man, Miracle on 34th Street is a big, brassy musical. From the first note of the overture, the beautiful sound from the pit is rousing and exciting, not letting up until the final note after the curtain has come down. It's a consistently beautiful score, beautifully played by the musicians, led by Music Director Esther Zabinski, playing live at Ocean State, and kudos to the company for never pumping in fake music. It just wouldn't do justice to this kind of music the way the live orchestra does.

While Willson's score is fantastic, his lyrics are not so hot, at least not consistently. A couple of the songs are just unnecessary and/or ridiculous, even by musical theater standards. Some of the lyrics are laughable, with Willson really stretching a long way to find a rhyme and try to make it work. A silly number like "The Plastic Alligator" just feels like filler to add more music and make the show longer, even if the theme of "if you sing it, it's true" becomes important later on.

On the other hand, there are some great songs as well. Doris' solo number in Act One, "You Don't Know" is a nice moment and the big ensemble number "Here's Love" is one of the show's real highlights, along with "Pine Cones and Holly Berries." "The Big Ca-lown Balloon" is another outstanding ensemble number that helps the show get off it a promising start, featuring a wonderfully choreographed mini-Thanksgiving Day parade on stage.

Willson also wrote the book for the show and again comes off as hit or miss. There are differences here form the movie and some odd choices. In this musical version, Doris is not anywhere near as cynical, independent and tough as nails as she should be. She's softer around The Edges and seems to be more at the mercy of the men around her. Speaking of those men, the main one, Fred, is written as far less charming and earnest, and instead is kind of smarmy and a bit of a jerk. Also odd is just how sexist he is and really how sexist the whole show is. While it's true that men talked and acted that way back then, there are moments, like a horrible song around a poker table, that are blatantly sexist in an unnecessary way that doesn't do anything to add to the story or make the characters more interesting.




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Robert Barossi Robert Barossi has worked in just about every possible job in professional theater, from actor to stage manager to company manager to box office and house manager. This has included time spent immersed in the theater and arts scenes in places like Philadelphia, D.C., Boston and Rhode Island. He has also been a staff writer for Motif Magazine in Rhode Island, writing reviews, previews and features, for six years, leaving the publication just recently. Though not working in professional theater currently, he continues to work on being an aspiring playwright and getting to as much theater as possible.


 
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