Book by Thomas Meehan and Bob Martin. Music by Matthew Sklar. Lyrics by Chad Beguelin. Based upon the New Line Cinema film written by David Berenbaum. Sydney Opera House. 19-29 Dec, 2024.
Predictable, silly, and presented as a semi-staged “concert” (i.e. minimal sets and props), how does this bog-standard movie-to-musical adaptation of Elf manage to be so unexpectedly adorable and fun? It must be a Christmas miracle. Somehow, this show is much more than the sum of its parts.
If you’ve seen the film, you know what to expect, and if you haven’t, well, the plot isn’t that important anyway. But here’s the gist: the very human-sized Buddy (Gareth Isaac) has been raised at the North Pole with Santa and his diminutive elves, and despite being almost three times their height, the naive man-child thinks he’s an elf. When, as an adult, he discovers the truth, he sets off in search of his real dad, Walter Hobbs (Simon Burke), a grumpy businessman in New York City. This leads to Buddy being thrust into the human world at Christmastime to see if he can get his father off the “naughty list” and forge a new family.
The show kicks off with what may be its most genuinely funny scene, featuring the elves singing and dancing in Santa’s Workshop. Some playful costuming by Josh McIntosh and great comedic work from the entire ensemble set the tone for the night. From here, the show swings between “ho-ho-ho” and “ho-hum” depending on whether Buddy is in the scene. There’s something magical about seeing outrageously over-the-top innocence clash with harsh reality and refusing to yield. It’s classic “see the world through a child’s eyes” stuff.
As far as adapting the Will Ferrell classic to the stage, Elf: The Musical is no different from any of the hundreds of other film-to-stage adaptations we get. It’s got all the major comedy beats, like a horrified Buddy screaming “You’re not Santa” at a department store stand-in. Scenes and characters have been simplified or altered to fit the stage, and the book is cheesy. The style is pantomime, the songs are nice and Christmasy, and the jokes are all family-friendly. Everything about it is perfectly fine.
Don’t let the fact that this is meant to be a “concert” production fool you; it’s not just a concert. It’s a full show, just with simplified staging to suit its short, festive run. The set consists of giant screens with effective animations by David Bergman, giving the show a very 2D, cartoonish feel that works well for this production. The band is visible, sitting above the set.
Gareth Isaac has the lanky, child-like charm required to bring Buddy to life. Simon Burke is far more likeable as Walter Hobbs than the character is in the movie, being more stressed and grumpy than outright dismissive or mean. The ever-reliable Katrina Retallick shines in the underwritten role of Emily Hobbs, Walter’s wife. Oscar Bridges avoids playing the “sad kid at Christmas” cliché as Michael, Walter and Emily’s teenage son (and God bless him for surviving the floppy ’90s boyband haircut and high-waisted jeans he’s been given). The young ensemble provides plenty of energy and some suitably hammy comedy beats—everyone got the memo: this show is a panto, so go big or go home. There are even a couple of “for the adults” moments—like an appearance by New York’s famously buffed “Naked Cowboy” and a series of chorus girls in short skirts.
Seeing Elf: The Musical is a great way to enjoy a Christmassy night out without being subjected to the same ten carols over and over. Thank Santa for a show with all-original tunes! While the Grinch-side of my brain grumbled at the obviously fake tap dancing, the utterly pointless romantic subplot, the “ice skating” and the double entendres that would make a Carry On movie wince—I had fun! Together, this cast transforms Elf into something genuinely entertaining and wonderfully festive.
Cultural Binge 
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