"Christmas has come early to Broadway this year. Previous productions of the family-friendly comedic yuletide fable Elf The Musical, though pleasant enough, have seemed short on the very Christmas spirit—an ineffable sense of animating joy—that the musical is about. Its current revival, however, is another story entirely. To be honest, I wasn’t eager to see Elf get taken down from the shelf yet again. But my grinchiness soon vanished, to be replaced with a big wide grin. For the first time in my experience, this show is really elfin’ good.
Elf’s third time is the charm. The most obvious change is the bright new star at the top of the tree: Grey Henson, who has also given Broadway the giggles with his special brand of confident comic insouciance in Mean Girlsand Shucked. Henson’s guileless Buddy is a creature of twinkle from his eyes down to his toes: an overgrown sweetie with a gentle heart and penchant for mild mischief. You can’t help rooting for him on his journey of elf-discovery, elf-esteem and elf-actualization,...
Well, count me now among the believers, at least when it comes to this show. Broadway needs a little Christmas, right this very minute, and it’s a pleasure to take off for a while on Elf’s magic ride. "
The show is just good, holiday fluff. It's a simple, heartwarming story. The songs are nothing great. But there's also a reason it's toured almost every year since 2012. Reviews won't matter.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
McHenry in Vulture has surprisingly nice things to say about the musical itself, but not this production. At least the first aside here made me laugh:
"This Elf comes to us from London (maybe an early warning sign, musicalwise), where its director Philip Wm. McKinley has stripped things down to their most basic, though not in any avant-garde fashion. Tim Goodchild’s rather thin set pieces are usually overshadowed, yet again, by a giant screen (the videos are by Ian William Galloway), giving you that sinking feeling of watching people try to act in front of a product display at Best Buy—a sensation that’s unfortunately become Marquis Theatre house style."