Review: Grumpiest ‘Grinch’ yet barrels through the audience at Children’s Theatre

He barks at his loyal doggy companion, “You’re fired!”

He snatches up the townspeople’s presents thinking that by depriving them of long-desired material things, he can snuff out their joy.

And he threatens the Whos in Whoville with a warm time, advising those who object to the glum, humorless holiday that he plans for them to “get used to it.”

The Grinch has come out of his cave once again to gloat on Mount Crumpit, the aerie where he holds all the presents hostage in a precarious bundle. Will the whole thing collapse, turning the Whos’ holiday trappings into a smashed mess? Or will Cindy-Lou Who’s imploring help him to grow his too-small heart back to regular, even generous, size and lead to a literal change of heart?

“Dr. Seuss’ How the Grinch Stole Christmas” is under new direction at the Children’s Theatre Company, with Dean Holt, who also returns as narrator Old Max, making his directorial debut at what is traditionally a theater’s biggest show of the year. Holt is welcoming and warm onstage, giving Max a beneficent, avuncular twinkle.

Holt’s staging is also replete with the fright, humor and mirth we’ve come to expect from this holiday fable about a grumpy figure who eventually finds warmth and welcome in a community that he has misunderstood his whole life.

But Holt has added so many small moments to the show, including mood-setting underscoring of his own narration and more projections, that the production feels a touch overstuffed. It’s not a turkey by any stretch. It’s more like the whole thing has come out of the oven and needs time to cool, and for the flavors and trimmings to settle just right.

In his seventh spin as the mean ogre, the versatile Reed Sigmund is finding new colors for a Seussian figure whose flaws are obvious to all except him. His is the grumpiest Grinch yet, preening and prancing across the stage and green with envy at all the simple, happy Whos. Sigmund is a first-rate showman, and his Grinch moves with responsive confidence, even barreling through the audience and cracking wise.

Sigmund, and the production, achieve a rare theatrical feat in a show attended by easily distractible tykes. They open up the narrative for an audience interactive moment of ball-tossing levity and focus-losing fun, then smoothly wrest control of the action right back.

Harriet Spencer, who alternates the role of Young Max with Adelyn Frost, is eager and solicitous as the Grinch’s loyal, much-abused sidekick. Spencer captures the dog’s sense of immediacy and full-attention presence, giving physical expression to Max’s tireless energy and letdowns as it grapples in each moment with its boss’ temperament.

Batya Rose Green Hofkin, who alternates with Chloe Hu, is all sweetness as Cindy-Lou Who. The role is Annie-adjacent, except that Hofkin’s Cindy-Lou wins over the Grinch with unalloyed innocence.

The massive and expressive cast, choreographed with eccentric lightness by Kelli Foster Warder and conducted with comic, wholesome zest by Victor Zupanc (who alternates with Denise Prosek), leans beautifully into the story. The big ensemble numbers impart communitarian spirit.

For this “Grinch” lands differently as a malicious figure comes out of his crusty isolation into a community’s embrace. They change him and, in his way, he changes them, for they see the redemptive power of a shared communion, if you will.

It’s a holiday fable and has its ode to shopping but this “Grinch” also is marked by ethereal longing and ardent hope.

Where: Children’s Theatre Company, 2400 3rd Av. S., Mpls.

When: 7 p.m. Thu. & Fri., 11 a.m. & 2 p.m. Sat., 2 & 5 p.m. Sun. Ends Jan. 5, 2025.

Tickets: $15-$93. 612-874-0400 or childrenstheatre.org.