Miracle on 34th St

 

I first saw “Miracle on 34th Street” when I was a child. The movie — starring Maureen O’Hara and Natalie Wood as her young daughter — was released in 1947 and was based on a story by Valentine Davies.

It has, since that time, been my very favorite Christmas-themed story: A mother who works for Macy’s is teaching her daughter reality vs. fantasy, refusing to let the child believe in fairy tales or in Santa Claus, until she meets an elderly man named Kris Kringle who insists he is the real Santa Claus.

I had not seen the musical version, by Meredith Willson, and so was happy to see that it was being presented by the Woodland Opera House. Sadly, the show was a big disappointment, and the bulk of the problem is with Willson himself.

The man who created the wonderful classic “The Music Man” has created a show that consists of mixed emotions from delightful to dull, far too many exuberant full-chorus numbers, a story line that does not flow consistently, and the creepy situation of the friendship between a strange man and a young girl, which becomes so intense she calls him “Uncle Fred,” but her mother doesn’t have a clue what her young daughter is doing.

In 1963 this may seem an innocent relationship — and it is — but it is nothing that would pass so innocently today. (In the movie, Fred was a next-door neighbor and had Susan’s mother’s permission to spend time with her daughter.)

There is even a number, “She Hadda Go Back,” which is essentially “Trouble” from “The Music Man” with different words.

The best musical number in the show is “It’s Beginning to Look a Lot Like Christmas,” which was recorded by both Bing Crosby and Perry Como in 1951 and was stuck into this show 12 years later.

If you combine all the things wrong with the show to begin with and add a trumpeter who was, at least on opening night, definitely not up to the task of a show that relies very heavily on a good trumpeter, the whole thing was a mess.

Even the set was a disappointment. One of Woodland’s best features over the years has been its rock-solid sets, but in this one a whole wall moves when a door is opened. However, with 20 scenes over two acts, I understand that one can’t anchor pieces as well as in a smaller show.

None of these points should take away from the good performances by the cast, however. Makenna Harding-Davis as young Susan Walker is a marvel. Her performance throughout was outstanding and her scenes with Jeff Nauer, as Kris Kringle, were some of the best in the show.

Nauer was chubby and plump, a right jolly old elf who could make anybody believe in Santa Claus.

Erik Catalan, as Fred Gailey, the man who wants to help Susan have a more normal childhood, is very good and holds the show together, though his scenes with Susan’s mother Doris (Crissi Cairns) extend the bounds of disbelief. The first time they meet, he plants a passionate kiss on her, the second time they meet, she is yelling and screaming at him, and their third scene has them planning marriage.

Steve Mackay is a wonderful blustery Marvin Shellhammer, Doris’ assistant, filled with unworkable publicity ideas for Macy’s.

Don Draughton is a good R.H. Macy and Ken Watkins does well in the small role of Mr. Gimble, and also the larger role of a balloon vendor in the parade scenes, while Rick Simonson is a believable judge, presiding at the trial that will determine Kris Kringle’s sanity.

The ensemble, a combination of adults and children from Woodland’s young people’s program, was marvelous in each of their ensemble numbers and was a highlight of the production. Of particular note is young Peyton Kessler as Tommy Mara Jr., son of prosecutor Thomas Mara Sr. (Matthew Abergel, who also appears as a policeman), who provides some of the evidence that clears Kris.

The show ends happily ever after and should send everyone home with warm feelings about the holiday, but I felt a need to watch the original movie again. I wish Willson had given this talented cast better material to work with.

On Sunday, Dec. 6, the company will hold a special “Cookies and Cocoa with Santa,” giving children an opportunity to visit with Kris Kringle from the production. Tickets are $10 per child (no charge for adults) and must be purchased in advance.

The event will include storytime with Santa on stage, a chance for each child to sit on Santa’s lap (bring your camera) and a cookies-and-cider reception. Tickets may be purchased for the 5 or 6 p.m. hour.

Christmas has come early to Winters, beating even the venerable old Macy’s Thanksgiving parade by a week. “Miracle on 34th Street,” directed by Anita Ahuja, opened last weekend and will run weekends through Dec. 2 at the Winters Community Center.

This stage adaptation of the beloved 1947 movie classic was adapted by Mountain Community Theater from the novel by Valentine Davies.

Yes, the pace of this production is sometimes plodding and there were lots of missed and made-up lines throughout the evening, but who cares, when everyone on stage and in the audience is having such a good time, and when you can enjoy the delight of Mikenzie Hapworth-Eldridge, the littlest elf, who stole every scene in which she appeared.

It’s the story of Kris Kringle, who has just been booted out of the senior home in which he has been living because of his insistence that he is the real Santa Claus. In a piece of serendipity, he turns up at the Macy’s Thanksgiving parade just in time to save the parade from a drunken Santa Claus, and does such a convincing job that he is offered the opportunity to be the in-store Santa for the season.

Has Tom Rost ever looked more dapper? This stalwart of many Winters theater productions is perfectly suited to the role of Kris. His humility and passion for his role will convince anyone that he really is Santa Claus. He and little Emilia Orosco also must have had a good dialog coach to be able to converse and sing together so convincingly in Dutch.

Wendy Rash is Doris Walker, the very practical, no-nonsense mother of young Susan (Sophia Tolley). Doris believes in “utter realism and truth” for her daughter, without a shred of fantasy. It is Doris who hires Kris and then must face the consequences when he begins sending customers to other stores and convincing little Susan that fantasy is important in life.

Sophia Tolley does a good job of being the “you can’t fool me” child of her mother, but slowly pulled into Kris’ fantasy world and beginning to believe that maybe there really is a Santa Claus after all.

Jim Hewlett, featured as the town cop in last year’s “Fruitcakes,” takes on the role of Fred Gayley, Susan’s neighbor, who has developed a good relationship with Susan and tries to bring a little playfulness into her life. He would also like to have a closer relationship with Doris. Gayley befriends Kris and ultimately solves all of the old man’s problems, and receives a very special gift from Kringle as well.

Dona Akers is Mrs. Shellhammer, the head of the toy department, at first entranced with Kris’ performance, then appalled when she overhears him sending parents to different stores for toys that Macy’s does not stock, or where they can buy them more cheaply. She is ready to fire him until Mr. Macy himself (Howard Hupe) gets flooded with compliments on the store’s true spirit of Christmas and comes to Kris’ support.

Eleanor Yeatman puts on her best Lily Tomlin-as-Ernestine impression to portray Miss Saywer, head of Macy’s Human Relations Department, who gives Kris a psychological evaluation and sees him as a danger to the community and is determined to have him committed to Bellevue Psychiatric Hospital.

Michael Barbour is Judge Harper, who will decide Kris’ fate at a sanity hearing, while Germaine Hupe is the formidable prosecuting attorney who gets trapped by her own granddaughter.

Shows like “Miracle on 34th Street” are wonderful for community theaters because they offer so many opportunities for members of the community to have a small role. Angel Clute-Bixby and Justice Brewer, for example, start off the evening as drummers marching onto the set and playing a little drum duet.

Alexis Velasquez grabs the microphone and gives a good rendition of several Christmas carols.

And there are a number of children who sit on Santa’s lap or become elves: Amelia Doran and Marc Velasquez, for example, in addition to others mentioned previously. Sam Peterson is one of the children and also does a surprisingly good job as Lou, one of the postal workers who handles Santa mail.

This is a play that exudes kindness, love, humanity and maybe a little bit of magic as well. It’s a fun family show to start the Christmas season.

Miracle on 34th Street

My very favorite Christmas movie ever is “Miracle on 34th Street,” written for the movies in 1947 by Valentine Davis. It starred Maureen O'Hara, John Payne, a very young Natalie Wood and Edmund Gwenn as Kris Kringle (Gwenn won the Oscar that year for best actor in a supporting role).
There have been three remakes for television, a movie remake for the big screen and a Broadway musical version in 1963.
In or around 2006, Will Severin, Patricia DiBenedetto Snyder and John Vreeke adapted the story for the stage and that stage adaptation is this year's holiday offering by the Woodland Opera House, under the direction of Jeff Kean.
There is a danger in adapting a familiar film to the stage, that being that while you can do short scenes that dissolve into other short scenes rather seamlessly in a movie, on a stage, brief scenes in one setting followed by a brief scene in another involve complicated set changes.
Even though director Kean has costumed his set crew with colorful Santa hats and uses sets on wheels that move in and out quickly, it still sometimes has the feel of “say a couple of lines, wait, say another couple of lines and wait again” while the sets are being changed.
It's an unavoidable problem that Kean sometimes manages to occasionally solve by having two characters stand on one side of the stage without a set while two other characters stand on the other side. Only a pool of light indicates there is a change of scene.
Setting aside the choppiness of the action in a show that has more than 30 scenes, the overall production is certain to delight audiences.
Jeff Nauer is a wonderful Kris Kringle, hired by Macy's when its parade Santa Claus (Matthew Taul) shows up drunk to work. Kris is later hired to be the in-store Santa and causes an uproar when, in the spirit of Christmas, he sends the parents of children to different stores when they are unable to find their child's desired toy at Macy's.
Kris' immediate boss is Doris Walker (Jen Smuda-Cotter), an embittered woman who is out to teach her daughter Susan (Ani Carrera) the realities of life and refusing to allow her to believe in fantasies such as Santa Claus.
Doris' neighbor Fred Gailey (Matthew Moore) is trying to help the little girl have a more normal childhood, especially when he offers to let the homeless Kringle stay with him.
The adult actors give good performances, and Ani Carrera is perfect in the role of a too-wise-for-her-age child who just really wants to believe in Santa Claus.
There are excellent performances in smaller roles, particularly Charley Cross as Mr. Macy, and Steve Cairns, who plays the multiple roles of Mr. Gimble, Charlie Halloran and prosecutor Mara, determined to have Kris committed to a psychiatric hospital.
Spencer Alexander is the perpetually blustery Mr. Shellhammer (the real character's name, and presumably no relation to Woodland Opera House education director Angela Shellhammer).
Bruce Lohse is suitably judge-like in his portrayal of Judge Harper, who must decide Kris' fate and who runs the risk of telling all children everywhere that there really is no Santa Claus.
Kean's sets are ingenious, whether they are rolled on or flown in, often one being rolled on while the other is halfway up into the rigging. When finally in place, they work beautifully.
Laurie Everly-Klassen has put together a large collection of costumes very true to the 1940s, giving a completely authentic look to each scene.
“Miracle on 34th Street” drags a bit, but only because of the structure of the script, not because of the contributions of those involved. It is still a delightful couple of hours and should be a lot of fun for everyone who attends.
Bring tissues. After all these years, I still get misty-eyed at the ending!