Review: DR. SEUSS' HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL at National Theatre

Christmas was already five days gone before the national touring company of Dr. Seuss' How the Grinch Stole Christmas! The Musical opened at The National Theatre. Some had already tossed their trees to the curb and were preparing for the New Year’s and beyond.

How could this oft-told Yule tale rekindle any spirit of a holiday that’s already past? (And why was a critic prone to humbug be reviewing this production anyway? Grinch recognizes Grinch, I guess).

But you know what? Even in stretching out a story that was perfectly fine in the succinct original 1957 picture book, or at least the 24-minute cartoon special made in 1966, it succeeds not in further elongating a season that had already gone on too long (since before Halloween) but in reminding audiences of that glow the holidays at their best can bring, and keeping it kindled a little longer.

The production, which played on Broadway in 2006 and 2007 before taking to the road every year since, succeeds by really honing down on the quirky and still-eye catching designs of the original Dr., Theodor Geisel.

The zippy set by John Lee Beatty often relies the sketchy cross-hatched lines from the original children’s book. Even better, the costumes by Robert Morgan are as free and fun as those originally depicted in the book — with even crazier hairdos, twirly and curly and topped with odd bows (I could find no hairstyling credit).

On a cast of Whoville residents who were chirpy and bright as what they wore, it was hard not to smile at it all. But still to arrive was that green-toned monster from high up the mountain who disdained all their very noisy merry-making.

The lanky San Antonio actor Cody Garcia excels in the role, not relying on an previous, well-ingrained portrayals from Boris Karloff in the cartoon, Jim Carrey in the overcooked 2000 live action film or Benedict Cumberbatch in the 2018 CGI version.

Indeed, when he slithers out of his cave, his green hair sticking out in spiky starbursts, he looks more like Rick in the “Rick and Morty” cartoons, with a Sid Vicious attitude. He’s having a great time in the role, and that translates to the audience, with whom he sometimes interacts.

Ever since the Chuck Jones’ animated TV classic, there is an awful lot of attention given the Grinch’s dog Max, who was a secondary character in reindeer getup in the book. Where once he was a comic foil, doing funny business on the sleigh to help fill up the special, now Max is the narrator of the musical version, whose book is by Timothy Mason and music is by Mel Marvin. 

It’s an elder Max (Nicholas Hambruch) who is leaving Whoville now (though he never says why — is he retiring? Running away?). Nevertheless, as he is going, he reminisces on the Christmas that turned things around as he tells the story. 

We see the young Max emerge (Andrew Fleming), all peppy and acrobatic, as old Max describes him. Seeing two ages of the dog at once may be the only confusing thing in a show that is a pretty good introduction to live theater for the youngest of kids in attendance (who are given rubber booster buckets to sit on so they can better see).

As a foil to the Garcia’s Grinch, Fleming’s Max is a perfect pairing, if only because of the huge difference in height. He really does look like his pet. And he sings and does some tumbling that Old Max can’t quite accomplish.

The other big star, of course, is young Cindy Lou Who, a role split in the current production between Hallie Freiman and Khloe Saclolo. Hallie was on duty opening night and was in command despite her tiny stature. With strong vocals and a knowing smile, her big hug to the monstrous Grinch is the big emotional moment of the moment of the show, and it delivers.

Unfortunately, the new songs stuffed into the show are the weakest part of the production. Even in a world that eats up new Christmas songs annually, “Who Likes Christmas?” “This Time of Year” and “Santa for a Day” have not exactly made a dent into the holiday songbook. The melodies don’t last longer than a snowflake, and the lyrics can’t come close to Seuss’ ever-inventive wordplay. 

On the contrary, the two surviving songs from the '66 cartoon that are included (music by Albert Hague, lyrics by Seuss) — the keening chorus of “Welcome Christmas” and the accusatory “You’re a Mean One, Mr. Grinch” are too beloved to be left out. And while the former is not featured as much as it could have been, the latter returns as a crowd singalong.  

There is some inevitable stretching out for a story that was well told in a half-hour short, but the going is not unbearable. And with an early curtain time, kids don’t get antsy or tired. 

The liveliness is due to Matt August’s direction, but the choreography credited to co-director Bob Richard doesn’t lead to big dance sequences. Mostly, the 20 or so fancifully-dressed Whoville residents avoid running into each other during the festivities.

My heart may not have grown three times its size by show's end, but I can say that rather than dragging the season out too long, the late-coming musical finds a way of agreeably extending the best of its spirit.

“Dr. Seuss’ How the Grinch Stole Christmas! The Musical” runs through Jan. 4 at The National Theatre, 1321 Pennsylvania Ave. NW. Tickets available at 202-783-3370 or online. Runtime is about 90 minutes, with no intermission.