REVIEW: A Christmas Story feels fresh at Theatre Aquarius
iPhoto caption: A Christmas Story production still by Dahlia Katz.
A Christmas Story is one of the more divisive holiday movies. The 1983 film has a small cult following who can quote every line, and for whom the movie gets funnier with each year’s re-watch. (I may or may not have a ceramic Christmas ornament of Ralphie in his bunny suit sitting in my parents’ basement.)
But within the crowded genre of holiday movies, I’ve seldom found that A Christmas Story is anyone’s favourite. The film, which follows a young boy named Ralphie on his quest for a Red Ryder BB gun, hasn’t aged particularly gracefully — jokes about plying children with firearms are decidedly unfunny in a time of frequent school shootings — and each year it seems 40 or so yuletide flicks enter the arena with a new flavour of holiday cheer, making classics like A Christmas Story feel even more passé.
All this to say: I remember being surprised when A Christmas Story opened on Broadway in 2012, with music by Benj Pasek and Justin Paul (who have since gone on to write music for Dear Evan Hansen, The Greatest Showman, and La La Land). And I recall being even more surprised when Hamilton’s Theatre Aquarius programmed the show in its holiday slot this year — the musical adaptation of A Christmas Story maintains the film’s episodic format and features fairly forgettable songs (it’s hard to believe Pasek and Paul were polishing the musically superior Dogfight at the same time as this one).
No, Joseph Robinette’s theatrical adaptation of A Christmas Story isn’t particularly strong. (And some of that falls on the source material — the 1983 film was itself a loose adaptation of Jean Shepherd’s 1966 book of short stories In God We Trust: All Others Pay Cash.)
But under Mary Francis Moore’s smart direction at Theatre Aquarius, A Christmas Story almost works. Moore has assembled a terrific cast of kids and adult crooners: Mark Crawford stars as a fictionalized version of Shepherd, who narrates the events of A Christmas Story as if recalling his own childhood (fans of the original film will easily spot monologues lifted from the film’s memorable voice-over). Crawford is a perfect casting choice, warm and affable, and as he wanders through the nostalgic haze of a childhood long gone, it’s easy to fall for his easy manner and kind smile.
Fourteen-year-old Finn Kirk wows as Ralphie, with a beautiful voice that vaults into the rafters of the spacious auditorium. Ralphie’s a big role, comparable to Annie or Matilda with lots of solo songs and complicated scene work, and alongside Crawford, he’s a pleasure to watch. Addison Wagman, too, is cute as a button as Ralph’s little brother Randy.
Moore has encouraged equally excellent performances on the adult side of the kid-parent divide. Jamie McRoberts is great as Mother (who’s thankfully afforded the show’s best music, in the form of two earnest ballads about parenting), and Adam Brazier’s Old Man gets one hell of a tap solo during “A Major Award.” Dharma Bizier also tip-taps her way to stardom as Ralphie’s teacher, Miss Shields — it’s nice to see her back onstage following her memorable performance in Maggie last year. (This production’s excellent choreography is by Robin Calvert.)
Tech-wise, A Christmas Story is as impressive as I’ve come to expect from Theatre Aquarius, though Brandon Kleiman’s beautiful, dollhouse-esque set is at times just a hair too far back on the stage to appreciate its detail. (Every room of the Parker home, from the boys’ shared bedroom to that darned furnace in the basement, is represented here with evident care and love for the source material.)
If you want to catch A Christmas Story before it closes, good luck — the show is close to sold out, and with the talent on that stage, it’s not hard to see why. Do I think Pasek and Paul have gone on to write far better scores than this one? Yes, clearly. But under Moore’s supervision, A Christmas Story feels less like a cheap adaptation and more like a celebration of family and fun — even the most persnickety of Pasek and Paul enthusiasts will be able to leave their reservations about the writing at the door.
A Christmas Story runs at Theatre Aquarius until December 22. Tickets are available here.
Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.
Aisling Murphy
Aisling is Intermission's former senior editor and the theatre reporter for the Globe and Mail. She likes British playwright Sarah Kane, most songs by Taylor Swift, and her cats, Fig and June. She was a 2024 fellow at the National Critics Institute in Waterford, CT.
LEARN MORE
iPhoto caption: Pictured (L to R): Jake Epstein as Frank, Isabella Esler as Alice. Photo by Michael Cooper.
REVIEW: Britta Johnson’s Life After shimmers in large-scale Mirvish transfer
The show’s tender excavation of grief’s ambiguities hasn’t lost any power in its journey to a bigger house; in fact, it’s clearer than ever.
iPhoto caption: Photo by Jae Yang.
REVIEW: Tarragon’s wonderful Benevolence reflects on diaspora, community, and place
Playwright-performer Kevin Matthew Wong’s script is heartfelt, conversational, and at times poetic, moving effortlessly between heavier moments of grief and lighter moments of joy and humour.
iPhoto caption: Photo by David Cooper.
REVIEW: Why Not Theatre’s Mahabharata is a glorious theatrical banquet
This extraordinary ensemble of artists has made something truly harmonious, truly epic: a story that speaks to a mythical past, honouring a range of South Asian artistic traditions while also drawing a direct line to where — and who — we are now.
iPhoto caption: Photo by Jae Yang.
REVIEW: Guillermo Verdecchia’s Feast is a fascinating text, but Tarragon’s new production feels hazy
I found the play really resonant and rich and layered. It’s about globalization, privilege, travel, displacement, and inequity, and it brought up many associations and past experiences for me. But I don’t feel that Soheil Parsa’s production fully comes together.
iPhoto caption: Karen Hines as Pochsy. Photos by Gary Mulcahey.
REVIEW: VideoCabaret’s Pochsy IV is bizarre, vicious, and hilarious
I can confidently say that you don’t have to have a 30-year-plus background with Karen Hines’ clown character Pochsy to quickly understand her mix of oddball conviction, sly wordplay, and bland narcissism.
iPhoto caption: Photo by Chelsey Stuyt.
REVIEW: Ins Choi debuts impassioned new solo musical at Vancouver’s Pacific Theatre
Faith is the message at Son of a Preacherman’s core. Faith in your beliefs, faith in your passions, faith in your calling, and, most of all — faith in yourself.
iPhoto caption: Photo by Aisling Murphy.
In the darkest months of Yukon winter, it’s all about the Sun Room
I’m here for a week in January as a guest of Nakai Theatre, a hub for theatrical experimentation and outside-the-box programming in Canada’s westernmost territory.
Armchairs, tattoos, and an online theatre magazine
When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.
iPhoto caption: Liz Appel headshot courtesy of Liz Appel.
Five questions with Wights playwright Liz Appel
Intermission spoke with Appel over email for a brief Q&A about Wights, now playing at Crow’s Theatre until February 9.
Call for applications: Publishing and editorial assistant
Intermission Magazine is seeking a dynamic and collaborative individual to join our team.
iPhoto caption: What Writing Can Do: The 2025 Musical Theatre Critics Lab
Announcing What Writing Can Do: The 2025 Musical Theatre Critics Lab
What Writing Can Do is timed to coincide with the Grand and Theatre Aquarius’ co-production of Waitress, which will serve as a jumping-off point for discussions throughout the Lab.
iPhoto caption: Madame Minister production still by Dahlia Katz.
REVIEW: Madame Minister is a star vehicle for actor Laura Condlln
Laura Condlln and Cyrus Lane offer performances that are worth the drive to Barrie — the two have terrific chemistry and timing.
Comments