Does the Broadway revival of the musical provide plenty of festive spirit?
New York Theater.me: “Henson, who made a splash as the gay friend in “Mean Girls” and the co-narrator of “Shucked” – both supporting roles — doesn’t take charge in the same way. He’s at his best when leading the ensemble in choreographer Liam Steel’s lightning-fast, synchronized dance numbers.”
Deadline: “Throughout the production, the sprightly dancing, not to mention Henson’s inexhaustible high spirits, adds some kick to a pleasant if mostly unremarkable score. Songwriters Sklar and Beguelin would, after Elf, go on to compose the much superior The Prom. We owe them a sugar plum for that alone.”
Time Out: “The Christmas cheers culminate in a scene that features Santa Claus himself (a game if slightly undersize Sean Astin), who has crashed in Central Park on a malfunctioning sleigh—a vehicular Tinkerbell that can only fly if enough people believe. Well, count me now among the believers, at least when it comes to this show. Broadway needs a little Christmas, right this very minute, and it’s a pleasure to take off for a while on Elf’s magic ride.”
Talkin’ Broadway: “No one will ever suggest that Elf is one of the all-time great musicals. The story it tells is a simple one, delivering a message of good cheer. But if there ever was a need for good cheer in the theater, this is it. Go, and I can pretty much guarantee you will have yourself a grand “sparklejollytwinklejingley” time.”
Theater Mania.com: “Though at times this Elf can feel like Charlie Brown’s droopy Christmas tree, it ultimately triumphs easily and shines as bright as the Rockefeller’s. And a surprise at the end is well worth the trip to the Marquis. It made this jaded critic believe in Santa Claus again for one glimmering, ephemeral moment of theater magic.”
New York Times: “Henson, who was nominated for a Tony Award for his show-stealing turn as Damian in “Mean Girls,” makes Buddy utterly his own: sunny, darling, slightly unsettling. At the mention of tickle fights or snuggling, he emits a small noise that he doesn’t know is sexual, and moppets in the audience won’t either. That joke is aimed at the adults. It’s a tonic of a performance — the kind that makes you smile later, just thinking about it. The trouble is that Buddy is trapped inside “Elf the Musical,” a creaky adaptation whose two-and-a-half-hour length seems designed less to maximize audience enjoyment than to ensure there’s an intermission that people can spend buying merch.”
AmNY: “While “Elf” can still hardly be considered a great or even good musical (many songs that fail to leave a lasting impression and loads of clunky comic business), the new Broadway production is, I must confess, a crowd-pleasing, feel-good delight that is presented with genuine showmanship, including expansive dance choreography by Liam Steel, whimsical digital projections, and (in a feat reminiscent of the “Back to the Future” musical) Santa’s sleigh flying high above the audience. There are also, of course, obligatory bursts of snow throughout the theater.”
New York Theatre Guide: “Despite the stuffiness of Bob Martin and Thomas Meehan’s book, Chad Beguelin’s lyrical modesty matches with Matthew Sklar’s pleasant score, and the showstopper “Nobody Cares About Santa,” about mall Santas, takes the cake. Elf The Musical also deploys a late-stage surprise: a dazzling liftoff that neatly ties a bow on the production.”
New York Stage Review: “But for subversively funny delight, suitable for knowing adult and innocent child alike, Elf on Broadway makes a perfect stocking-stuffer.”
For more information about the production visit: https://elfonbroadway.com/