By: Darryl Reilly
“Christmas isn’t about technology, it’s about tradition!” So, sneers a dastardly villain scheming to thwart Santa Claus’ plan to use a new high-powered sled to deliver presents across the planet in the charming, sweet and smart new musical for children of all ages, The Christmas Express. We’re at the fabled North Pole workshop where stalwart Mrs. Claus, the Claus’ feisty daughter, several elves and various integral figures, clash and unite to fulfill that annual mission of bringing joy to the world.
Composers John Paul Louis and Matthew Lightsey’s appealing diverse melodies recall yearning 1960’s pop tunes and bouncy silent movie music. Mr. Lightsey’s elegant lyrics are grounded in wit and emotion. The Christmas Express’ score channels Jerry Herman’s humanness and Stephen Schwartz’s verve. Sadly, Lightsey died in 2022 in a car accident at the age of 22, while the show was in development.
“Did Napolean cross the Alps?” and “We have to save this holiday from elves gone wild!” Are two more tart lines from author Claude Solnik’s inventive and affective book which is structured as short, pointed scenes. Besides the drama over Santa’s sled, there’s the suspense of who will succeed the present Santa as he plans to retire. Mr. Solnik’s cleverly realistic conceit is that there have been a succession of Santas who have passed on the mantle to a confederate. The comedic and touching scenario is welcomely reminiscent of The Court Jester and other Golden Age Hollywood swashbuckling gems.
Spritely Ally Bouska gets the show off to a rousing start with her sparkling stage presence when singing the opening number, and shines in her subsequent appearances. The youthful Joe Chacón’s immense talent allows him to temperamentally be an ideal Santa Claus, evoking weary heroism. With his manbun and goatee, the tall, sleek and charismatic Eric Grant who is decked out in a flowing imperial overcoat, gloriously recalls Basil Rathbone’s and Vincent Price’s grandeur as the villain, marvelously tossing off biting zingers in his melodious voice as he swaggers about. The wry Jessi Bushman’s Mrs. Claus is a deadpan delight. Samantha Trested’s zesty characterization of Daughter Claus contains dramatic and romantic depth. Wiry Christian Cieri is an antic whirlwind as her workshop nebbish love interest. As a resourceful robot, the luminous and tender Melanie Young is heartbreaking committing an altruistic act. The ensemble is completed by the dual magnetism of Kyra Gee as the villain’s associate, and Georgia VanRy as a friendly saloon singer.
Director Robert Liebowitz’s physical staging cleanly and craftily maneuvers the large cast onstage with precision and momentum; there are some arresting stage pictures. Co-director Katie Michelle Stahl’s choreography has snappy simplicity, cool tableaus and neat dance sequences. From traditional Santa and elf wear, to military garb and techno elements, Heather Bushman’s opulent costume design is fabulously visual. The minimalistic scenic design is a configuration of tables and chairs laden with holiday bric-à-brac. It is surrounded by panels on which artful forestial and seasonal imagery is projected. Lighting designer Marsh Shugart’s varying vivid hues crisply complement the piece’s locales, tones and events. Music and effects are rendered by Brian Larkin’s ace sound design. Musical director John Paul Louis richly performs his co-compositions on piano.
This world premiere production of The Christmas Express is an entertaining fresh spin on familiar lore.
The Christmas Express (through September 14, 2024)
Theater for the New City, 155 First Avenue, in Manhattan
For tickets, visit www.theaterforthenewcity.net
Running time: 90 minutes with no intermission