ensemble members in Miracle on 34th Street: The Musical: The Musical
Miracle on 34th Street: The Musical, with its music, lyrics, and book by Meredith “The Music Man” Willson, was one of the first of many adaptations of the 1947 (non-musical) movie, which starred Natalie Wood as cynical little Claus-denier Susan. This 1963 stage version is now running at the Circa '21 Dinner Playhouse, with director Corinne Johnson and music director Ron May at the helm. Thanks to a wealth of talent onstage and behind the scenes, it's visually and aurally impressive. But Willson's material sometimes falls short of delightful.
The movie was extraordinarily popular with both the public and critics from the get-go, despite 20th Century Fox CEO Darryl Zanuck forcing the flick into a May release, rather than an obviously suitable December debut. Maybe he objected, as some did, that the character of the smart, skillful executive in charge of the Macy's Thanksgiving Day Parade was (gasp!) a well-off, independent woman! Divorced, yet! (Divorce existed in the 1940s, but was considered deeply shameful, and not to be depicted in mainstream entertainment.)
In Circa '21's production, the gorgeous painted backdrop, designed by Susie Holgersson and executed by scenic artist Becky Meissen, looks like a confetti-colored, quasi-photographic New York City postcard. This, and the kaleidoscopic rainbow splashes on the floor courtesy of lighting designer Heather Hauskins, unmistakably announce that this is a fantasy. Additionally, three-dimensional lights and wreaths are strung across (where else?) 34th Street in Manhattan. Younger theatregoers should know that retail giants Macy's and Gimbel's department stores in the story really existed, were indeed rivals in price wars, and within a short walk of one another (though not on opposite sides of one street, as depicted).
Kicking off the plot is aforementioned executive Doris (Sarah Hayes), unknowingly hiring the real Santa Claus, Kris Kringle (John Payonk), for the famous parade, and as subsequent, jolly wish-listener for Macy's toy department. Kris, wanting to better serve the customers, is quick to inform parents that the best buys are at other stores – including Gimbel's. This is a problem, and one compounded by Kris asserting that he is the real Santa (which, of course, no one believes). As for Doris, she believed in sweet fairy tales until her husband of nine months left her. She's raising her daughter Susan (Olivia Young or Charlotte Ruth, in alternate performances) as a pragmatist. Her neighbor, aspiring attorney Fred (Kyle DeFauw), befriends Susan, and plays the manic pixie dream boy to Doris' staid reality prig.
Vocally, Hayes, Payonk, and DeFauw are glorious, and provide some of the production's best moments. Unfortunately, the words Willson gave them sometimes dulled their shine. I never imagined that any stage-based condescension could surpass the Nazi Rolf's "little-girling" of Liesl in The Sound of Music, but Willson made Fred patronize Doris with "Look, Little Girl," in which he denigrates her for "making" him be attracted to her. (The song's titular phrase is borrowed from the film, but in that, Kris says it kindly to Susan … who is actually a little girl.)
Happily, Willson penned pleasing numbers, too. Near the beginning of Act I, Doris and Susan (on Thursday's preview night, a role played by Young) performed the sprightly partners' togetherness duet "Arm in Arm." The Macy's employees try, comically, to pitch the mostly imagined virtues of the "Plastic Alligator," an overstocked item they're desperate to sell off. Kris convinces shoppers to spread love among rivals, "from people with say-so to those who disagree," in "Here's Love," which was also the original title of this musical. (That's all I want for Christmas.) Willson adds to his little cache of Midwestern musical tributes (remember "Gary, Indiana"?) with "My State, My Kansas," a highlight of the plodding courtroom scenes. It's an upbeat, unexpectedly fun number featuring Doris and a few court denizens. By the way, Willson loved his home state, too – he wrote the "Iowa Fight Song."
For this show, he wrote "Pine Cones and Holly Berries" to be sung simultaneously with his "It's Beginning to Look a Lot Like Christmas," which he'd written 12 years prior. Payonk and the cast perform this counterpoint number admirably. But the intertwined tunes themselves don't approach the charm and harmonies of "Lida Rose"/"Will I Ever Tell You" from The Music Man. (Hey – it's my favorite musical, okay?)
Johnson's ensemble, many of whose members play more than one role, is talented and energetic – and they need to be, portraying diverse parts including marching musicians, store employees, executives, and dancing toys. Choreographer Shelley Cooper came up with plenty of great moves, and I give a hat-tip to costume designer Bradley Robert Jensen for the multiple outfits, which must number close to 100. The leads' wardrobes include intentionally dreary yellow-and-brown dresses for realists Doris and Susan, which are replaced with vibrant outfits as the show progresses and they start to believe in Santa – and in love … the kind found in sweet fairy tales.
Oh, Meredith. I love you for writing The Music Man, and always will. But dude. I'm glad I didn't look at Circa '21's Miracle on 34th Street: The Musical program before the show and see your name, because my expectations would've been way too high.
Miracle on 34th Street: The Musical runs at the Circa '21 Dinner Playhouse (1828 Third Avenue, Rock Island IL) through December 29, and more information and tickets are available by calling (309)786-7733 extension 2 and visiting Circa21.com.
