Even when it was first conceived, Valentine Davies’s story Miracle on 34th Street was steeped in nostalgia, a yearning for happier, simpler times when belief in Santa Claus and kindness was possible. At that time, no-one could have anticipated society would reach a point where high streets would be barren and physical retail sales in actual shops would be regarded as things of the distant past.
Director Sara Joyce tackles this situation in an imaginative framing sequence. In the present day, the ‘Marvel’ store, famed for handmade toys, is reluctantly forced into closure. However, the store is something of a TARDIS and transports young Susan (Karis) back to the glory days of retail.
In the past, Susan has been raised by her mother, Doris Walker (Jessica Joslin), not to believe in cosy myths like Santa Claus. However, when the store where Doris works has to replace the actor hired as Santa at short notice, the substitute, Kris Kringle (Adam Vaughan), turns out to be a godsend capable of addressing children in their native language and knowing where toys can be acquired at bargain prices. However, Kringle is not just too good to be true, he really believes himself to be Santa Claus resulting in a trial to determine whether this is the case.
Miracle on 34th Street shows its age. Women are ‘dames’ and there is whole song devoted to the vexed subject of why they can never be on time. Director Joyce embraces this anachronistic attitude, setting an old-fashioned screwball comedy tone for the first act. Mancunians may be puzzled by the need for a song addressing the virtues of the state of Kansas, so Joyce pushes the song to the point of parody. Stephanie Hockley impresses as the most valuable player, her body capable of exhausting comedic twists, turns and exaggerations to get a laugh.
If Hockley is the comedic highpoint, Karis (one of three actors to portray Susan along with Harriett and Lillie) is the beating heart of the musical conveying not so much innocence as mischief and an anarchic urge to challenge authority. Adam Vaughan is younger and more virile than one might expect for Kris Kringle but brings a gravitas to the role.
Miracle on 34th Street is one of those increasingly rare musicals where the songs, by Meredith Willson, are memorable. Surprisingly it is not the obvious “It’s Beginning To Look A Lot Like Christmas” which brings down the house but “That Man Over There Is Santa Claus” belted out by Ida Regan in full roar.
If act one is screwball comedy, director Joyce goes for full-on silliness in the second act. The trial is staged in a children’s nursery, evidence is given in song in the manner of an insincere lounge singer and the prosecutor sits upon a whoopee cushion. Silly but funny. The cast even read out requests to Santa submitted in advance by theatregoers using a template designed by Phoebe Foxtrot. Strangely, my wish for shows that start and finish on time does not feature.
The imaginative approach is not without costs. The framing sequence extends the running time of the show and delays the point at which the first song is sung. The big parade, which opens the show, is underpowered and might benefit from pulling in a few extra bodies from local drama schools to pad out the crowd. The ending, tying up both past and present sequences, feels unexpectedly abrupt.
A daring and occasionally giddy production tackles the challenges arising from staging a vintage musical like Miracle on 34th Street to give a surprisingly anarchic but hugely enjoyable festive entertainment.
Reviewer: David Cunningham