Review: HOW THE GRINCH STOLE CHRISTMAS! THE MUSICAL at The National Theatre

Bah Humbug.

Okay, so that's a different Christmas show reference, but it's a fitting one all the same.

I'll admit I may not have been the best reviewer to send to cover How the Grinch Stole Christmas! The Musical, given my Jewish background and disinterest in about 70% of Christmas productions, but I still tried to give this a fair shot, especially since I'm a big fan of Dr. Seuss. I initially liked the opening set pieces. The snow effect was beautiful, and the lighting was fantastic. But then the show started, and it all just kind of went downhill from there.

How the Grinch Stole Christmas! The Musical premiered in 1994, based on the beloved 1957 Dr. Seuss book and the 1966 animated movie. The show mostly stays true to the original book, though it does seem to add a bit more to the Whos' celebration (namely, there are two numbers devoted to shopping and gifts), and also seems to rush the Grinch's epiphany a bit. But the show has remained popular over the last 25 or so years, so it's not surprising to see a tour remount as we head into our first post-pandemic holiday season.

The 2021 Tour Production boasts some strong technical elements - as I mentioned, the lighting and snow effects were particularly eye-catching, and the set pieces seemed to come directly out of Seuss's book. James Schultz hammed it up, appropriately, as the titular Grinch, and genuinely seemed to enjoy engaging the audience, who clearly adored his portrayal. W. Scott Stewart, as Old Max, served as the narrator for the majority of the show, and shone in the classic "You're a Mean One, Mr. Grinch," which was adapted from the 1966 movie. Sofie Nesanelis charmed the audience as Cindy Lou Who (she shares the role with Quinn Titcomb, with the young actresses alternating performances). Bob Richard's choreography felt a bit unpolished, but also deserves credit for incorporating steps that seamlessly include a wheelchair - something not often considered by choreographers.

Unfortunately, there were also a number of elements that were on the weaker side. The sound design was a bit erratic, occasionally sounding too loud or producing an echo. The hair, makeup, and costume design all felt a bit rough; notably, Papa Who's sweater didn't fit over the bottom piece he was wearing, which just looked as though the costume designer hadn't bothered to fit the costume correctly. The staging occasionally felt overly simple, even for a children's production, though it also felt incredibly chaotic at other times.

There are also some serious issues with the actual content of the show. While I can't hold the sins of the show itself against this production (namely, the refocusing of the Whos' celebrations on consumerism and the uninspired songs that pale beside "You're a Mean One, Mr. Grinch"), the current production has its own host of messaging problems. Although Seuss' whimsical creations could lend themselves to more fluidity, the production chooses to lean into very specific gender stereotypes - Mama Who is responsible for the caretaking and holiday shopping, while Papa Who objects to spending money and sits behind his newspaper. In a poor attempt at humor, the Grinch turns to the audience and asks if his Santa costume makes him look fat. In both of these cases, it's concerning when you remember that the targeted audience is children, who will see and absorb these messages about body image and gender norms. The Grinch also sings a song about how he's "One of a Kind," though what makes him unique isn't really explained; indeed, the Grinch is an outcast until he conforms to the norm of joyously celebrating Christmas. While, like the capitalistic celebrations referenced in other songs, this is embedded in the original lyrics, it seems that a few well-placed dialogue tweaks could have helped steer this message to something other than discouraging children to be themselves. Additionally, I caught something that distressed me on a personal level: the Grinch, amidst his complaints about the Whos' celebrations of Christmas, uses a surprising amount of Yiddish, considering it's a Christmas production. At first, I was simply uncomfortable with the appropriation of Yiddish for a Christmas show, but it later registered that what was actually worrying was the use of the language, traditionally associated with Jewish communities, by the Christmas-hating Grinch. There's an understanding that the Grinch's hatred of Christmas is irrational and wrong, which is why he changes in the end and celebrates with the Whos; if he's simply not Christian, as this suggests, the entire plot takes on a completely different, antisemitic layer. And while it would be comforting to say it's just an old show, there are plenty of modern references to TikTok and "Squid Game" that make it clear that recent edits were made, so the decision was made to either add or keep this in.

While it's wonderful to have the option to return to live theater this holiday season, unfortunately, this production fails both in appealing to modern audiences and in capturing those who have a fond nostalgia for the original book and movie. With questionable messaging, a pitchy ensemble, and an overall lackluster production, How the Grinch Stole Christmas! The Musical doesn't quite feel like the best way to celebrate the holiday season, especially when there are other options available.

How the Grinch Stole Christmas! The Musical is part of the "Broadway at the National" program at The National Theatre, and runs through December 5th. Run time is approximately 85 minutes with no intermission. Tickets are available online at BroadwayAtTheNational.com.

Photos were provided by The National Theatre, but feature the 2016 Touring Company, not the current one.

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