Based on the book by Dr Seuss
Books and Lyrics: Timothy Mason
Music: Mel Marvin
Reviewer: Dominic Corr
It’s November, we hear you say, so what, who cares? Christmas is on the way. How better to celebrate, than with a children’s classic, so join The Grinch for some Dr Seuss magic. Suffice to say, rhymes may feature throughout – but please, try not to pout.
How the Grinch Stole Christmas has proven itself a timeless literary classic from America’s Dr Seuss. Its simplistic narrative of the callous Grinch, who thieves away Cindy Lou and the rest of Whoville’s Christmas has gone from popularity to an icon of the Christmas period. Now, making a UK premiere from Broadway, this musical production seeks to grow the hearts of an Edinburgh audience three-times over, no mean feat indeed…
Deliciously vile, seething with mean, Baker-Duly goes an extra mile, especially clad in green. The titular Grinch is now as iconic a symbol of the festive season as his Victorian counterpart Ebenezer Scrooge. Everything is sumptuously perfect in Edward Baker-Duly’s take on the fuzzy monstrosity, he’s the bad guy we all love to hate, but at the end of it, his characterisation goes far and beyond expectations. His physicality is transformative, this is no performer – this is the Dr Seuss character, and while mannerisms have no doubt been borrowed from the famous Jim Carrey take, Baker-Duly goes for a less juvenile, sarky incarnation of the role.
With plenty of tricks and vocals to spare, our old dog may prosper, but the younger misses by a hair. Taking the narration away from Gregor Fisher, for some reason, How The Grinch Stole Christmas is told to us, in verse, by Old Max, The Grinch’s berated dog companion reflecting back on how his Master’s lack of compassion led him to once steal the holiday cheer from those merry, if disgustingly chipper Whos of Whoville. Steve Fortune is adorable in the role, and his solo numbers reveal a compelling control which overcomes any issues of the live band drowning out the rest. It’s a thoroughly enjoyable role, with good humour and heart, but unfortunately the same cannot be extended to Young Max. Taking the collar for Max’s younger self, Matt Terry is fully capable of the role but is trying too hard, to the extent he feels unnatural, almost appearing to seek out the spotlight.
Now let it be said, quite often child-performers are something to dread. Then one comes along with exceptional ability, who outshines the adults and offers some humility. Young rising start Isla Gie fits in well with the adult Whos, but the reality is that she overcasts them. In no fault of Gie’s, this is a tremendous compliment to a young performer who captures the pathos of the narrative and holds her vocals splendidly. She shows how some of the older performers aren’t up to scratch in comparison, a few creating awkward scene transitions with an otherwise well-constructed set by John Lee Beatty.
It isn’t all about actors we do have to say, for there are behind-the-scenes creators whose respect we must pay. Illustrative in construct, complimentary in tone, Beatty’s set work is a tribute to the storybook all on its own. Complimenting the storybook decor superbly, Pat Collins lustrous lighting casts extraordinary colours against the monochrome.
Not without fault, The Grinch shines ever so bright, decked out in green, it’s rather a sight. For the occasions where How the Grinch Stole Christmas may slip on a greasy black banana peel, it counteracts with mirthful performers but feels the necessity to rely on tropes in a futile attempt to grasp at a younger audience, who are already invested in the timeless tale. Where it sticks to its roots, with rejuvenation from aesthetics and brilliant costume design courteously of Robert Morgan, The Grinch is stealing more than baubles and trees, but accelerating young hearts and old imaginations.
Runs until 1 December 2019 then touring : Image: Contributed