‘Christmas Story’ awash in talent
‘A Christmas Story: The Musical” is an intimate family story injected with great bursts of nostalgia, as well as imagination both childlike and adult in nature.
‘AChristmas Story: The Musical” — now in a high-spirited, warm-hearted, gently subversive production at Aurora’s Paramount Theatre — is an intimate family story injected with great bursts of nostalgia, as well as imagination both childlike and adult in nature.
Part Norman Rockwell Americana in its vision of a happily scrappy Midwestern family barely emerging from the Great Depression, it is just mischievous and true enough in its portrait of life circa 1940 to sidestep sentimentality, with orneriness and love ideally balanced. Radio may be the medium of note. Mothers may spend most of their days in aprons. And bullying may be alive and well among the elementary school set, even if the Internet is many decades in the future. But it all rings true.
Based on the quasi-autobiographical stories of Jean Shepherd, the Chicago-born, Indiana-bred raconteur and radio personality, as well as the popular 1983 movie based upon them, this 2012 musical version — with a lively score by Benj Pasek and Justin Paul and book by Joseph Robinette — quickly has become an audience favorite. And director Nick Bowling’s ideally cast, expertly acted, handsomely designed production, sparked by a gaggle of adorable, immensely talented kids, suggests why.
True, in these gun-crazy days, 9-year-old Ralphie Parker’s impassioned, monthlong quest for his must-have Christmas present — a Red Ryder Carbine Action 200-shot Range Model air rifle BB gun — is enough to give you pause. But you can go along for the ride and even laugh at the universal warning of his mother who disapproves of the toy as she exclaims: “Ralphie, you’ll shoot your eye out!”
Framing the story is Shepard himself (perfectly played by that impeccable actor Philip Earl Johnson), who narrates the story as if it were a radio broadcast come to life. And enhancing the storytelling at every turn are Jeffrey D. Kmiec’s picture-perfect vintage sets, from the Christmas windows of Higbee’s department store, to the armrest desks of Ralphie’s schoolroom, to the comfortably cramped two-level Parker home, to the elaborate “Visit Santa” installation and the iconic ice-covered flagpole that traps a little bully’s tongue.
The Parker family is a study in dreams delayed, and not just the one so relentlessly pursued by the bespectacled Ralphie (13-year-old Michael Harp, a multi-talented actor, singer and dancer who joins the many remarkable young performers now anchoring major productions, both musical and dramatic, in the region).
His devoted, pragmatic mother (Danni Smith, an actress-singer of such naturalness that she disappears inside her character) just wants peace and happiness, and to have her younger son, Randy (the very deft Theo Moss), develop an appetite. Her husband, “The Old Man” (Michael Accardo, ideally thwarted and comically volatile), wants to be a winner — of something — but ends up with little more than a chorus-girl lamp instead of the $10,000 prize he had hoped for when entering a crossword puzzle contest.
Ralphie, of course, wants to escape nerdiness and (not unlike his dad) become a local hero. It’s the cowboy imagery of his era that is uppermost in his mind and is so winningly suggested during the spectacular fantasy number “Ralphie to the Rescue!” His dad has racier fantasies as that leg lamp triggers a fabulous chorus line of sexy girls in lampshade skirts. Even Ralphie’s teacher, Miss Shields (Ericka Mac, in top belt-it-out, tap-up-a-storm form), has a chance to demonstrate her active fantasy life as a racy chanteuse.
Ralphie is aided and abetted by a dozen young pals who arrive in everything from winter coats to gangster zoot suits, and are as gifted and full of personality as any adult chorus you might see on Broadway. Bowling, along with choreographer Rhett Guter, make huge demands on them, and they more than meet every challenge. (Sally Dolembo’s countless costumes are priceless.)
One of the great glories of any Paramount production is the 17-piece orchestra, led by musical director Tom Vendafreddo. You won’t find this kind of ensemble accompanying most national touring productions. Just another reason to head to Aurora.