Review: Los Altos Stage Company’s ‘Miracle’ much different than silver screen classic

The first “Miracle on 34th Street” told the story of a little girl who didn’t believe in Santa Claus and the man who came into her life and helped her believe. That’s the plot of the 1947 American film based on a story written by Valentine Davies.

But don’t go to see Los Altos Stage Company’s current show thinking that’s what you’re going to see. This rather discombobulated production is instead adapted from a Lux Radio Broadcast that year that adds lyrics, music, sound effects and so many over-the-top touches it has little in common with that sweet original story.

The actors, several of whom play multiple characters, try hard, but director Allie Bailey would have done her audiences a favor if she had pared down some of the confusing aspects of this show.

The convoluted stage set is also a challenge. It’s the broadcasting room of KLASC (as in Los Altos Stage Company), with a sound booth at the back as well as a small area for the many sound effects needed for a radio show. But those sound effects would have been much more effective had that part of the set been at the front of the stage so the audience could watch them being made (and hear them better).

Then there’s poor, neglected Santa Claus! He’s relegated to a raised platform way at the back of the set where he competes with a beautifully decorated Christmas tree for attention. His placement seems like an afterthought.

There’s also the musical score – not an easy one to play (or sing) because it zigs and zags from traditional Christmas songs, jazzed up versions of same, and a lot of original (though not memorable) songs. Music director Benjamin Belew pounds the ivories with the force of an entire symphony orchestra which at least moves things along.

But in parts of the show there’s so much going on it feels like pointless commotion. Take the first scene. The four personable adult radio personalities enter the broadcast room and immediately are introduced with names never heard again because they then slip into the roles of their characters in the radio show. For example actor Mary Melnick becomes Cordelia Ragsdale who becomes Doris Walker. Seems like an unnecessary layer of obfuscation.

Of the actors bring much-needed warmth and charm to their roles which helps mute the chaos going on around them. Bryan Moriarty is fun to watch as he switches personas (sometimes within seconds) from a snooty R. H. Macy to Doris’ insufferable boss to a judge as well as other characters. As Doris’ understanding neighbor Fred Gailey who befriends her daughter Mary, Daniel Zafer-Joyce has just the right ‘boy-next-door’ looks to make Fred a likable guy.

Ken Boswell is efficient and sharp in the dual role of radio announcer as well as Foley artist (sound effects). As Kris Kringle, Bill C. Jones doesn’t quite give out the right vibe mainly because he speaks very softly and a shade too tentatively.

The female members of the cast also have some weaknesses. Though Melnick has a strong voice, her acting is strangely strident. It’s also curious why her make-up is so heavy in a theater the size of LASC’s. On opening night, Vanessa Alvarez still seemed wobbly and unsure in her role.

Then there’s 13-year-old Venice Ella Mayor as Susan Walker, a role originally written as a child of six or seven years old. Mayor sings beautifully and has a sure speaking voice, but she looks more like a miniature adult playing the role of a child.

The good news is that Melissa Sanchez’s costumes are perfect for the period (the 1940s), especially the fine three-piece suits worn by Zafer-Joyce, Moriarty and Jones. Gary Landis’ sound is clear, and Carina Swanberg’s lighting is fine. Janice Nimer gets at least one huzzah for coming up with some select vintage props like a large old wooden console radio.

There are a couple of cute musical numbers: “A Little Make Believe” is sweet and, in Act 2, Mayor is touching when she sings the solo “I Believe in You.”

But Lance Arthur Smith’s adaptation of the 1947 Lux Radio Broadcast and most of Jon Lorenz’s original songs isn’t up to snuff for audiences of today. A lot of it just comes across as clichéd and overblown.

Another quibble: Since this is supposed to be a live radio broadcast, why aren’t the radio actors holding scripts to read their lines? Radio actors don’t have to memorize lines because no one sees them.

Oddly, some of the best bits in the show are the old-timey commercials sung by the radio actors: Tupperware is the first product pushed, and, later, Lux Soap and Camel Cigarettes. This version of “Miracle” is quite unlike the original and is geared more for adults. It’s probably better for parents to look for a different Christmassy production to take the kids to this year.

Joanne is a member of the San Francisco Bay Area Theatre Critics Circle and Theatre Bay Area. Email her at joanneengelhardt@comcast.net

Theater

What: “Miracle on 34 th Street, A Live Musical Radio Show”

Where: Los Altos Stage Company, Bus Barn Theater, 97 Hillview Ave., Los Altos

When: 8 p.m. Wednesdays-Saturdays; 3 p.m. Sundays

Through: Dec. 22

Tickets: $20 (student rate) – $30-38; 650-941-0551 or www.losaltosstage.org