Danielle Wade and Liam Tobin with Isaac Grates-Myers, AJ Bridel, and Finn Cofell in ‘Chris, Mrs.’ Photo by Max Power Photography
This really does feel like a Christmas card joyfully bursting into three dimensions with jazz hands. The intent of creators Matt Stodolak and Katie Kerr (a real-life couple themselves) to give us a song and dance Hallmark movie live on stage is fully realized in all its trope-y glory. And while my sensibilities were rankled by a couple of early scenes, by the time we get to the Poplar and Pine Mountain Lodge, I pretty much succumbed to the abundant charms of Chris, Mrs., the first (of many, I hope) presentation by Boldly Productions.
At a fancy campaign opening, we meet ad executive, Ben Chris (Liam Tobin). Ever since his wife died, he’s been pretty cynical about Christmas and sees it as flashy marketing, the sort that are his bread and butter. This worldview is reinforced by his social media influencer girlfriend, Vicki (played with deliciously flamboyant villainy by Olivia Sinclair-Brisbane), much to the chagrin of his children; rambunctious twins Samuel (Lucien Duncan-Reid) and Samantha (Addison Wagman), and the teenage Claire (AJ Bridel).
Despite his guarded exterior, Tobin gives us appealing glimpses at his warm and fuzzy inclinations. Why Ben was ever involved with Vicky in the first place is never really made clear, but even this narrative shortcoming seems ripped straight from the story’s source inspiration. In the Hallmark universe, men are forever getting involved with shallow, opportunistic women who are completely wrong for them. A playful, local gal always comes meet-cute-ing into his life to sweep him off his feet and set him back on the right path.
That would be Holly (Danielle Wade), who has a history of showing up to the lodge for Christmas cheer, but vanishing before getting too caught up in anything or anyone. Until, of course, she meets the waiting-to-be-enchanted Ben. She’s got the ubiquitous trademarks of a manic pixie dream girl, but Wade makes this Anna Kendrick type her own with a unique brand of quirk and cleverness.
Thrown into works are: Ben’s giddy and guileless assistant Candace (a brash and giddy Sarah Lynn Strange) who enthusiastically sports a series of gaudy holiday themed novelty outfits without a hint of irony; a love triangle between Claire, a famous figure skating hunk, Cole (Andrew Broderick) and the shyly infatuated Tim (Henry Firmston). Cole is absolutely a player, but we don’t really hate him for it. Broderick sells an upfront, disarmingly confident swagger.
The plot involves a ring found in Ben’s suitcase—sending a handful of characters and the audience leaping to assumptions—and his planned sale of the family-owned lodge, worsening the rift between him and his brother Charlie (Kale Penny) who runs it. Some of the finer details of the drama feel a little murky, but the broad strokes are enough to keep us invested. The entire cast’s winning personae imbue this chintzy narrative with authenticity. One of the most fanciful flourishes is a suave Mark Weatherley who silver foxes his way through the antics as Nick (the “Saint” is implied), ensuring that Christmas magic sets all the wrongs to right.
Cory Sincennes rustic set, with its festooned gables and snow-flake backdrop, provides a familiar greeting card aesthetic. Minimalist scenic elements slide in and out as needed. His costumes further establish the wintery, festive vibes with a blend of cozy and garish outfits. You can almost smell the hot cocoa and candy canes.
The musical numbers are catchy. Kerr’s direction is punchy and self-aware and there are plenty of endearing moments that linger in my memory. I was particularly impressed with how thoroughly convincing the ice skating scene looked with its blend of elegant motion and precarious slips and stumbles. The Christmas market finale is top tier, genuinely beguiling schmaltz.