Review: ELF THE MUSICAL at Seacoast Repertory Theatre

I must be honest.

I have zero love for the original 2003 Elf movie. I find Will Ferrell’s schtick grating and the movie has always been on the “naughty list.”

So, trust me when I say that The Seacoast Repertory Theatre has pulled off nothing short of a redemption. This stage version isn’t just superior; it’s a pure rush of theatrical joy. If you’re looking for the antidote to dreary holiday streaming, this is your ticket. The vibrant energy at  the Rep’s space, combined with rollicking musical numbers and outrageously sharp dance routines, makes this show essential viewing. And even the worst “Bah Humbugs” will be converts with tap dancing elves and Santas that occasionally do a Rockette inspired kick line.

 The creative team of Broadway veterans Thomas Meehan and Bob Martin deserve a standing ovation just for fixing the source material. These guys, the architects of Hairspray and The Drowsy Chaperone, understood that transferring Buddy to the stage meant finding balance. Their script doesn't just replicate the film; it sharpens the jokes and gives the right balance of emotional beats with the essence of holiday cheer. .

As a child, Buddy Hobbs (Seth Turner) accidentally hitches a ride in Santa Claus' (Craig Capone) sleigh, grows up among elves as a toy maker at the North Pole, and one day realizes that he’s really a human. Upon the discovery,  he sets out to find his real father, Walter Hobbs (Michael Towle), a high-powered, cynical business tycoon in New York City. Buddy’s arrival is not the joyful scene he dreamt of. He finds his dad firmly entrenched on Santa’s naughty list, with a perpetually lonely wife, Emily (Stephanie Barney), and a son, Michael (Zadie Sands), who has quickly outgrown a belief in Santa. After a cleverly staged DNA confirmation, Buddy begins his frantic mission to find a place with his new family.

Along the way, Buddy collides with what becomes his first true love,  Jovie (Olivia Buckley), a skeptical Macy’s employee who is void of the holiday spirit. A hyperactive store manager, (Joshua Lapierre) adds a bit of Big Apple styling and humor to the show.

Turner’s performance as Buddy is an adventure in controlled chaos. He’s not a Will Ferrell clone from the movie; rather he creates a genuinely lovable, mile-wide-smiling imp. Turner brings powerful vocals, injecting pure, raw energy into “Happy All the Time” and the ridiculously infectious “Sparklejollytwinklejingley,” while hitting the soft spot with “World’s Greatest Dad.” His comic sense is impeccable and drives the show wonderfully.

Towle as Walter Hobbs is a perfectly miserable corporate grinch. He channels the likes of Ebenezer Scrooge who makes a heartwarming transition to Christmas cheerleader. Barney, as his wife, lands a beautiful moment of self-discovery, and Sands as Michael is a young performer who delivers a Broadway-ready belting voice. The duo performs a wonderfully tender, “I’ll Believe In You.”

Buckley is the perfect counterpoint to Buddy’s exuberance as Jovie, with a show stopping number, “Never Fall in Love (With an Elf).”

Capone plays both a lovingly warm Santa and a no-nonsense corporate executive to perfection. Erica Skoglund is a standout as Deb, the spirited office receptionist with a perfectly obnoxious voice.

Directors, Alyssa Dumas and Alexandra Mullaney have captured the essence of a Christmas-sized production making it a genuinely fun experience. Choreographer, Shaina Schwartz’ routines are big and bold, and the set designed by Dave Walters is nicely understated with a mix of North Pole venues, New York City offices, and Macy’s department store at Christmas.

The ensemble, featuring a mix of professionals and local youngsters, looks like they are having a blast. Their joy is infectious.

And we must talk about the costumes by Elizabeth Krah. The elf suits are Christmasy cute and the varied outfits of the retail Santas are appropriately inappropriate.

The orchestra under the direction of William Asher has never sounded better. A few years back, there were problems with the balance between the orchestra and the actors that plagued a few productions. (The actors were overpowered by the music.) Perhaps with the help of sound designer, Rachel Neubauer, the sound problems have been wonderfully solved.

The whole production succeeds because the adults are drawn in completely by the wink-at-the-audience double entendres while the kids are held captive by the sheer sincerity and belief of the cast. While the first act runs a bit long, the intermission is very much welcomed by younger audience members.