7 Nov 2025
Written by Penny for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Every year, friends and family are divided over what is the ultimate Christmas film. Passionate cases are presented for Love Actually, The Muppet Christmas Carol, It’s a Wonderful Life and even Die Hard! But it’s hard to argue against the story of Buddy the Elf and his exploits in New York City as a film worthy of a high position on any festive movie league table.
It’s also hard to think of a Christmas film more suited to a musical stage adaptation. And this year Elf the Musical is back in London for a fourth Christmas run, moving from the 2,000 seater Dominion Theatre to the Aldwych, a slightly smaller venue with its 1,200 audience capacity and layout making for a more intimate experience. With twinkling fairy lights, festive décor and candy canes in abundance, walking into the theatre feels as if you are literally stepping into Christmas!
This year popular stagey husband and wife, Joel Montague and Carrie Hope Fletcher take on the leading roles of Buddy and his love interest Jovie, with Aled Jones taking on the role of Walter Hobbs, making a whole generation feel very old now that he’s now the grumpy father figure rather than the angelic choirboy “walking in the air”.
The book, by Thomas Meehan and Bob Martin stays fairly true to the film (written by David Berenbaum) with a few minor changes that don’t lesson its familiarity. Papa Elf as narrator is replaced by the big man himself, a rather jaded Santa Claus (Martyn Ellis) with one eye on the toy factory and one eye on the football. There are a few changes to bring the story up-to-date – Santa now has an iPad rather than lugging around a massive book full of boys and girls’ wishes, and the potentially problematic scene with Buddy delightedly shouting “You’re an elf” at a character with dwarfism isn’t included. But, all of the iconic parts of the film are there. The audience is waiting for lines like “cotton-headed ninny muggins” and “Santa! I know him!” and the show does not disappoint!
The music, by Matthew Sklar with lyrics by Chad Beguelin, has a classic show tune feel without any of the numbers being particularly memorable. One of the best songs opens Act Two with a group of cynical department store Santas lamenting their impending unemployment in a number called ‘Nobody Cares About Santa’ – but rather than bringing the mood down, it turns into an up tempo dance number that belies its negative sentiment and sets us up for more of Buddy’s irrepressible optimism.
The inclusion of this scene feeds into an underlying theme of corporate greed vs Christmas spirit that is very well balanced throughout the show. Adults will appreciate the negative connotations of the commercialisation of Christmas – from publishing executives warring over profits on Christmas Eve to department store managers terrified that they’re being monitored by the faceless bigwigs from “Corporate” – it’s an unpalatable underside lurking just below the tinsel and candy canes on the surface. But, we don’t delve too deep and younger people in the audience will delight in the dancing Santas and Buddy’s total lack of filter in a corporate environment!
The set is excellent, enhanced by back projections, taking us from the North Pole and the magic of Christmas Town to the streets and boardrooms of New York. It’s colourful and ridiculously festive. Designer Tim Goodchild matches this in the costumes, with bright block colours that should clash but somehow work perfectly! The direction and choreography from Philip Wm. McKinley and Liam Steel is slick and the energy never drops, the dance numbers are pure joy from start to finish.
The casting is absolutely spot on without a weak link. Aled Jones gives an excellent performance as the absent father – not just for long-lost son Buddy but also for young Michael whose only Christmas wish is to spend a day with his Dad – without ever being in danger of becoming a panto villain. At this performance Michael was played by Samuel Sturge, a young actor with a very bright future ahead of him. His was a very natural performance, full of charm and with some absolutely incredible vocals. His duet with mum Emily (a wonderfully warm Rosanna Hyland) was a highlight of the show.
The role of Jovie, the girl of Buddy’s dreams, is a little underwritten without much stage time to let us really get to know her. Carrie Hope Fletcher still managed to shine, moving from deadpan cynicism to discovering joy and cheer. Her solo number, ‘Never Fall in Love (With an Elf)’ was funny, poignant and beautifully delivered. And, of course, her chemistry with Buddy was heartwarming and very real.
But, this show belongs to Buddy, and Joel Montague is perfect in the role. He has a perfect blend of naivety and charm, a wide-eyed innocence, sprinkling some sparkle in a city that has forgotten how to shine. Whether he’s charging around creating havoc, leading a big song and dance number, making the most unlikely friends or asking for a hug, he’s always lovable and engaging. His singing is fabulous, and his energy is completely infectious.
As a musical, Elf might not be in contention for any prestigious industry awards, it certainly isn’t a highbrow piece of theatre, and it doesn’t pretend to be. It’s a perfect start to the festive season and I defy anybody to leave the theatre without a huge smile on their face. Spending an evening at Elf the Musical is definitely right up there with singing for the best way to spread Christmas cheer!
Elf the Musical plays at the Aldwych Theatre until Saturday 3rd January. Find out more and book here.
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