THEATER REVIEW: Santaland Diaries at Shakespeare & Company
Theater
The Santaland Diaries
By David Sedaris, adapted by Joe Mantello
Directed by Tony Simotes
(Elayne P. Bernstein Theatre, Shakespeare & Company, Lenox, Mass., $16-$48)
A Shakespeare & Company production of The Santaland Diaries
Peter Davenport as Crumpet the Elf
Reviewed by Lesley Ann Beck
[LENOX, Mass.] The Santaland Diaries is funny, irreverent, and a bit twisted; in the fine production now at Shakespeare & Company, skillfully and creatively directed by Tony Simotes, actor Peter Davenport gives the audience a snarky Crumpet the Elf who also has heart. The one-man show, adapted from the essay by David Sedaris, portrays his real-life, less-than-stellar experience working as a Christmas elf at Macy’s in New York City.
In this production, as the show begins, the narrator is tidying his elegant New York apartment in preparation for a par
ty; he speaks to members of the audience as if they were early guests, and he tells the story of his time as a Macy’s elf as a long-ago memory.
ty; he speaks to members of the audience as if they were early guests, and he tells the story of his time as a Macy’s elf as a long-ago memory.
Peter Davenport is wonderful in the role; a skilled storyteller, he portrays the main character, David/Crumpet, as well as suggesting a wide range of other individuals, from elves to Santas to the less-than-impressive parents who have dragged their children to Santaland.
Davenport doesn’t give us a squeaky-voiced, chipper “elf” but a very real man at a difficult time in his life; he is so broke he actually applies for, and accepts, a job as an elf. And Davenport does this in a way that is funny, sharp, certainly sarcastic, but without bitterness. We like this character, even when he is being less than kind in his assessment of the families who come to see Santa at the department store.
The narrative begins with the job search and then a hilarious description of the three days of intensive elf training (including a S-A-N-T-A cheer with accompanying arm motions), culminating in the presentation of the elf costume. Davenport transforms himself from urbane New Yorker into Crumpet the Elf on stage in full view: d
onning a yellow turtleneck, slipping off his trousers to reveal candy-striped tights, adding puffy green velvet knickers, a green velvet jacket, pointy elf shoes, and finally, the jingly cap. The costume, designed by Govane Lohbauer, got a well-deserved round of applause on opening night.
onning a yellow turtleneck, slipping off his trousers to reveal candy-striped tights, adding puffy green velvet knickers, a green velvet jacket, pointy elf shoes, and finally, the jingly cap. The costume, designed by Govane Lohbauer, got a well-deserved round of applause on opening night.
Davenport takes the audience through Santaland, commenting cleverly on the other elves (Gingersnap asks stupid questions, Snowball hits on other elves in the dressing room, and Sleighbell does an impromptu flamenco), the quirky behavior of each of the Santas, and the obsessive behavior of some of the parents who seem to be visiting Santaland for th
eir own motives rather than the delight of their children. Sedaris’s story is sly, irreverent, and somewhat subversive, and all of that comes through in this production, along with some truly poignant moments.
eir own motives rather than the delight of their children. Sedaris’s story is sly, irreverent, and somewhat subversive, and all of that comes through in this production, along with some truly poignant moments.
The set makes excellent use of the space; there’s a grand piano at one end, the Christmas tree at the other, and glass doors to a balcony with a glittering view of the Manhattan skyline in the center. Davenport utilizes the entire set, playing easily to the audience on three sides: this one-man piece works well in the intimate house. The lighting is nicely done, and the sound design, including segments from holiday songs as well as jingles and a fanfare, is well-executed, too.
For anyone who prefers not to wallow in sentimentality at holiday time, Tony Simotes has put together an entertaining evening with plenty of laughs and a jolly jot of Christmas spirit, courtesy of Crumpet the Elf.
Costume design, Govane Lohbauer; Set design, Patrick Brennan; Lighting design, Stephen D. Ball; Sound design, Michael Pfeiffer; Stage manager, Nicholas C. Bussett
(Through December 30; running time is approximately 75 minutes without an intermission)
Lesley Ann Beck, the managing editor of Berkshire Living, reviews theater and the arts for www.berkshireliving.com.
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