Once the holiday season begins there’s one thing you can be sure of: before it ends you will have the chance to see many holiday-themed shows.
On stage, on TV or on the silver screen, most are varied productions of the same story as the “classics” eventually go from print to film to stage play to musical, stage and film. How you get your dose of Christmas cheer is your choice, but be aware that not all are the same, even if they share a namel.
Such is the case with “Here’s Love,” which opened Friday at Warsaw’s Wagon Wheel Theatre.
Initially, that was the title given the musical version of the now-classic 1947 film “Miracle on 34th Street.” It opened on Broadway in October 1963, played thru July 1964 and departed. When it reappeared it had adopted the movie title (adding “The Musical”), probably for more instant recognition.
It’s pedigree is impressive. Book, music and lyrics are by Meredith Willson, who performed the same triple threat in 1957 with “The Music Man,” a stage and screen blockbuster, and again in 1960 with “The Unsinkable Molly Brown.”
Only natural to figure that another musical would follow in the timesteps of its older siblings, which just goes to show that lightning may strike twice but three strikes can mean you’re out.
In spite of an excellent production directed by WW artistic director Scott Michaels, who also is responsible for the outstanding choreography, the theatrical script has a hard edge which shifts the tone from the film’s sweet and kind-hearted feeling to one that is uncomfortably cynical. Even the comic roles are way off the wall.
The score is well-handled by the eight piece orchestra under the direction of Thomas N. Stirling, and the voices, both solo and ensemble, are up to the high WW standard. The problem, with one exception, is that the songs are easily forgettable. The exception is “Pinecones and Hollyberries,” a lovely duet between Kris Kringle (Robert J. Miller) and young Susan Walker (Lauren Housel) which harkens back to “gentler Christmas times.” It incorporates one of Willson’s earlier seasonal melodies, “It’s Beginning to Look A Lot Like Christmas,” and definitely is worth the Act II reprise.
Miller, who could double anywhere as Old St. Nick (the beard is real), infuses his character with ingratiating warmth and Claus-worthy charm. His duet with young Sadie Lemon as Hendrika, a little European refugee, is delivered in believable Dutch (on both parts) and is a lovely highlight of the show.
Housel avoids any hint of brattiness as the young girl brought up to believe only what she can “see, smell, taste or touch.” As Susan’s realist mother Doris Walker, Jennifer Dow again proves that she is one of WW’s hidden treasures. Unfortunately, this script makes Fred Gaily (Michael Mott) a very brash ex-Marine who wants to be a lawyer. His relationship with Doris is fast and furious and not very romantic.
The performers, both adults and children, do their best to keep the parade moving along briskly, but I kept hoping a barbershop quartet would stroll through.
“MIRACLE ON 34th STREET, the musical” plays through December 18 in the theater at 2517 E. Center Street in Warsaw. For performances dates and times and reservations, call (574) 269-7996 or visit www.wagonwheeltheatre.org