Does the world need a new Christmas stage musical? Hell, why not? The ones we have are getting a little shopworn about now. But does the world need a musical entertainment that, even with all its wonderful and heartfelt intentions, is the theatrical equivalent of The Island of Misfit Toys. Well, probably not.
The authors of Kris Kringle, The Musical, now having its world premiere at Olmsted Performing Arts, are mostly to blame. Maria Ciampi (book) and Tim Janis (music and lyrics) are no doubt splendid people with hearts of gold. And we wish them all the best, good health, and joy this holiday season. But the fact is their new show, which is opening here in Cleveland and has aspirations of landing on Broadway, is about as enjoyable as a large ball of melted tinsel—sparkly and colorful to the eye but dense, lumpy, and rather sad inside.
However, this is the Christmas season! So let’s begin with the good news, or what there is of it. The basic idea of this apparently high-budget family show has potential. A young toy inventor, named Kris Kringle, gets crosswise with an evil toy company boss until he bonds with his grandfather, Santa, and everything turns out great. If only Ciampi’s tale were that simple.
Turns out, Kringle is fired by the profit-hungry toy magnate R. G. Reedy (as we are informed, it can be pronounced “Are Greedy.” Ho, ho…huh?) and then Kris gets a job at Santa’s workshop and he’s happy because that’s where they give toys away, and he makes a wonderful toy that “can teach troubled hearts to be free,” but then he faces the Kringle Curse that makes people freeze and it can destroy Christmas and—wait! I haven’t told you yet about Ms. Emma Horn, who was the head elf at the workshop but now she’s working for Reedy, while the current head elf, Elmer, schemes to mess up Kringle’s plans. Hold on! There are also the magic boots that Ms. Horn wears, as does Elmer, who has a few doppelgangers who sing a song with him, and apparently Reedy’s shoes also have magic powers. Stop! Did I tell you that Reedy is related to Santa, whose wife really runs the North Pole, or that Kringle meets Evelyn Noel who teaches Santa’s apprentices how to be elves or that…Halt!
If this partial rundown of the plot sounds confusing, condensed as it is, it’s no more explicable in the slightly more than two-hour show. Indeed, the narrator (helpfully named Christmas Spirit) comes on stage now and then to offer further exposition. In sum, Kringle is a mash-up of too many complicated plot elements with a too on-the-nose presentation of its themes. Janis’ songs are loaded with specific and literal statements about “bright and sunny days,” and “be all I can be,” and “don’t ever stop believing.” Even little kids in the audience can handle a little more subtlety than that. Then the show concludes with a song about forgiveness which is titled “Forgiveness” and has characters repeatedly singing “I forgive you!” at each other. Okay, got it.
One flaw this show doesn’t have is a weak cast, since many of the area’s finest actors and singers are on stage. But even proven performers such as Natalie Green, Greg Violand, Michael Mauldin, Kristin Netzband and Brian Marshall can’t save this sentimental folderol from itself. In the title role former BW student from Cleveland, Mack Shirilla, is an endearing and sympathetic Kris Kringle. But sadly, their best efforts go for naught when the halting, pedestrian melodies are linked, often awkwardly and in a forced manner, to the repetitive lyrics. And then it’s all hitched to a story as complicated as an early draft of Ulysses.
There are a couple cute lines, such as when Elmer is eavesdropping on others talking about him and he whispers to an elf, “Do you hear what I hear!?” But those rare slivers of wit only serve to highlight how the rest of the show pounds you over the head with a two-by-four with its message.
Clearly, many dollars and much energy have been expended on this enterprise. And the accomplished director Pierre Jacques-Brault and noted musical director Charles Eversole do what they can to keep the huge cast of 40-plus adults and kids rolling. But this Christmas-kluge-on-wheels probably shouldn’t be going anywhere, least of all Broadway, as it is currently constituted.
Kris Kringle, The Musical
Through December 13 at Olmsted Performing Arts, 6941 Columbia Road, Olmsted Falls.
This article appears in Dec 2-8, 2015.
This review is clearly jaded and mean spirited. The reviewer is close friends with the director that was fired from the production earlier this year. Enough said? As a cast member I know several major Broadway producers cam to see the show over the weekend and I personally heard one saying with a little tweaking the show would be ready next season. I tend to trust the Tony Award Winning producers comments that came to see the show over a reviewer that has no been caught in a very sticky web of ill intent. How about praising the creative team for creating something new and original while employing over 100 local people?
everyone is entitled to their own opinion. I personally thought the show was pretty good. Anytime I can go to the theater and laugh and cry somebody’s got to be doing something right.
Sounds like someone has their tinsel in a tangle Christine Howey! I was present at the show. While I do agree it needs some tweaking-perhaps a little simpler& more obvious explanation of some of the plotline details, as well as a little “less” of some elements, I can’t help but agree w/the poster above that it sounds like someone went overboard with the negativism in their “critique”. This to me is suspect & makes me wonder about the credibility of the “reviewer”. As an investor in Broadway Plays,I can tell you that there is typically a huge difference in what you see when plays are hitting the local stage to what you see when/if they reach Broadway. This includes all elements involved including actors&storyline. That is the purpose of CREDIBLE reviews -for those involved to learn what they can do to improve upon their product. I would not consider this one of those. Ms.Howey fails to mention that the first night was a sellout , that ticket sales are going strong or that people in attendance enjoyed the show,which was quite entertaining & delightful. There were so many positives she failed to draw attention to at all. It takes alot of love,& sweat(not to mention financial) equity to bring a show to fruition. Especially a show that is good clean entertainment for all ages that comes with positive messages-something that is sorely lacking in today’s world& theatre. I have no doubt that the directors,producers & others involved will take stock of feedback and do their best to make needed improvements. However, I don’t feel it’s necessary to judge this production based on a blatantly blistering account seen through the grey lenses of a transparently bitter Scrooge. Better watch out Ms. Howey,I hear Santa ran out of coal & is now giving out Browns gear to all the bad kids-you may be getting a truck load.
Fred Sternfeld left the production for personal reasons. We consider Fred to be a friend and wish him well. While BroadwayBaby may feel the review is mean-spirited, the comments made by BroadwayBaby certainly are mean spirited. Members of the theater community need to support and encourage each other. This type of negativity is senseless, unproductive, and benefits no one.
Wishing Everyone a Happy Holiday Season!
John Thomas
Executive Producer
Kris Kringle The Musical
Thank you for the review. I won’t be going to see it. I’ve heard too many nasty things about it. Your review was honest and to the very point. Let professional people write actual loving scripts and let the rest of them wither. wow, what a great review. What’s Braoadway going to say? I thibk instead of needing tweeking at this point, given they are taking people’s money at a professional level, perhaps they should have a professional, well thought out plan and plot. Sound too convoluted. Why bother?
Broadway Baby might do well to grow into at least a Broadway Toddler and learn to accept a bad review without trying to create an imaginary nexus of evil and then tie it up with “Enough said?”. More than enough said and obviously made up and unproven. Throw in two allegations based on wishful thinking and then light the fuse. Broadway Baby, if you ever hope to be a Broadway Teen, I’d suggest you either learn to take a review gracefully or don’t read them. That’s what Broadway Adults have been doing since theater was first offered on that street. And Atcher Service, it seems that you don’t feel it’s necessary to judge this production….etc…..but that is what critics do so if this piece ever gets over to Broadway you better be prepared and batten down your hatches because that, as they say, is life in the theater. I’ve never spoken to Christine Howey but she has had tremendous staying power in our theater community so quit writhing on the floor, stand up, pick up your rattles ands sippy cup, take it on the chin and carry on. Do your work and the critics will do theirs.
I thought this was a well-written review. She did her job, and wrote objectively of the strengths and weaknesses as she saw it. You may not agree with Ms. Howley but she also pays respect and admiration for the cast and crew. Whether this is Broadway-bound, or destined for local community entertainment, remains to be seen and will depend upon potential producers and investors. I’d rather read this type of review, than those from cast and perhaps friends and families of cast and crew who may not be as objective. Good luck in whatever path it takes.
Interesting how Moga55 claims they have not seen the show but then talks about the show needing “a professional well thought out plan and plot”. Anyone else find this interesting? And we all wonder why shows in development don’t come to Cleveland.
It sounds like the person who wrote the first comment is an actor in the production and worked with the original jilted director. Did anyone miss the fact this person is stating the review was influenced by the original director who is her friend? It will be interesting to see if the other critic that everyone knows is friends with the former director reviews the show and if so what he has to say. Sad we have to question if the reviews are honest or not. My advice to the producers of this show is to stay out of Cleveland and do your work in NYC or LA. Cleveland theater people in general are a bit backwards and do not grasp the concept a show in development. My guess is none of this group has ever mounted a successful show on Broadway. A sad shame this show was staged here first instead of a more deserving city with professional critics that are able to offer sincere constructive advice.
And now EASTSIDEGAL is repeating Broadway Baby’s charges which…..if you take the time to read the post by the EXECUTIVE PRODUCER OF KRIS KRINGLE, clearly states that the director was NOT FIRED and Broadway baby’s allegations were untrue and mean spirited. Did the producer also gain by a bad review? No, the producer is an adult who graciously allows reviewers to work. I’m sure all those pre-Broadway development projects that were lining up to come to town are now canceling based on the advice of EASTSIDEGAL…..advice that they are paying a large fee to hear. But wait…didn’t I just see a pre-Broadway development project at The Cleveland Play House? Oh, yes, “A Comedy of Tenors” by Ken Ludwig. Funny how he was willing to develop in Cleveland with so many Broadways successes under his belt. Christine Howey’s review of that was not exactly a rave either but somehow everyone didn’t start stamping their feet and wetting their trousers. At the development stage it is wise to listen to all feedback. Broadway-bound projects take years and years.
EASTSIDEGAL did tip me off to the possibility of another review of Kringle and googling “Kringle” + “review” I came up with two. Funny how this review also blasts the baroque tangle of plot elements and praises the production value similarly to the Howey review. Perhaps it is time to sit down to a SERIOUS REWRITE and clear away a lot of the underbrush and thank these agreeing reviewers for showing you the path forward. Who knows, this could end up saving the show by calling for a show doctor. This trying to tie the reviewers with some mad scheme involving libelous charges about a director is indeed mean spirited and rather pathetic. Take your medicine and fix the show.
Everybody calm down and get over yourselves. It’s a review. I haven’t always been given the best reviews by Ms. Howey, but I trust her opinion above all other reviewers in this town.
Take a step back and breathe. There’s a reason why lots of actors prefer not to read reviews. If you believe the good, you have to believe the bad and neither will do you any good while you’re running the show.
I traced the IP addresses linked to the messages above. I suggest to those that are posting to advance their own agenda to stop or I am releasing the list of IP addresses. Don’t want to ruin anyone’s career or reputation in this town so I suggest you stop posting and stop encouraging your friends to like your comments. I will also send my trace info to Scene Magazine & the Kris Kringle producers if this does not stop now. I am sure a law suit will soon follow if the info I have is correct.