Zach Theatre's The Santaland Diaries

A new creative team energizes a 20-year-old holiday tradition at Zach

J. Robert Moore as Crumpet the Elf in The Santaland Diaries

When Martin Burke, longtime star of Zach Theatre's annual production of The Santaland Diaries, officially hung up his elf cap in 2016 (this time, he swore, for good), the future of a beloved holiday tradition seemed uncertain. Since 1998, this stage adaptation of David Sedaris' biting memoir of employment as a Macy's department store elf has provided Austin audiences with a delightfully cynical alternative to the sugary holiday fare offered by Nutcrackers and Christmas Carols. After a year off, Santaland has returned in an intimate, scaled-down production helmed by the proven director-actor team of Nat Miller and J. Robert "Jimmy" Moore.

Bringing a fresh energy to this yuletide staple (on the 20th anniversary of its Austin premiere, no less) is a tall order. But the duo's previous collaboration on Zach's critically-acclaimed one-man show Buyer and Cellar proved them well-suited to staging captivating solo performances. Miller's approach stands in contrast to previous Santaland presentations, which, over time, evolved into winter-themed variety shows, complete with original musical numbers and co-stars. His intimate, bare-bones production shines brightly by virtue of two simple elements: Sedaris' timeless wit and Moore's lively portrayal of Crumpet the Elf.

Perhaps the most notable departure from years past is the fluid manner in which crowd interactions – both planned and unplanned – are integrated into Moore's performance. Granted, most solo shows require actors to feed off audience energy. What's rare, however, is a performance wherein an audience serves as an actor's impromptu scene partner. Here, Moore's uncanny ability to act off of every laugh, gasp, and interjection make for a show that's less a monologue and more an organic dialogue. Unsurprisingly, this level of interaction leads some patrons (whether sauced or simply unaware) to confuse Moore's crowd-work with an invitation to strike up a mid-monologue conversation with Crumpet. With a less capable actor, such interruptions would mean death for the show's pacing; Moore's quick, in-character comebacks, however, remind talkative attendees where they are without compromising Santaland's tempo.

Considering that he denies having a serious improv background, one can only assume Moore's snappy rhythm stems from his knack for characterization. As with Buyer and Cellar, Moore's various characters come across not as cheap caricatures but careful portraits assigned unique energies and physicalities. This is most apparent with Crumpet, whose frantic on-the-clock joy is betrayed by Moore's seemingly involuntary expressions of disgust and anguish (something I, having worked retail over the holidays, relate to immensely). Such gleefully defined portrayals make Moore affable even in his missteps. When Moore flubs a line or gets tongue-tied, I don't see an actor stumbling; I see an overworked elf who's clearly over putting on appearances. (Hell, in one performance, Moore asked "What comes next?" to an offstage presence he dubbed "stage manager elf," a move made so smoothly and in character that it escaped the more relaxed members of the audience.) Moore recovering from slips by calling attention to them for a laugh does as much to define the hard-luck Crumpet as any line of witty Sedaris dialogue could.

The finesse with which Moore presents Crumpet is no doubt owed to the extensive directorial backgrounds of both Miller and Moore. With physically demanding solo shows, it can be easy for actors to fall into the trap of simply traveling their assigned blocking pattern – moved not by the script's natural energy but by their dutiful drive to hit mark after mark. This Santaland, conversely, is built around movement and blocking; Moore moves like a flipbook, each motion executed with purpose.

Considering how much Austin's changed since 1998, it's a joy not only to see a tradition like Zach's Santaland continue, but to do so with two such prominent creatives bearing the torch. Seeing how effectively Miller and Moore staged this holiday standard without frills, I find myself hoping the duo picks up where Burke left off: doing the show annually, perhaps with an added musical number or two. (Moore's voice is simply too delightful to go unutilized.) Should that not pan out, one hopes they'll revisit their creative partnership in some capacity – after the chaotic holidays have passed, of course.

The Santaland Diaries

Zach Whisenhunt Stage, 1510 Toomey, 512/476-0541
Through Dec. 30
Running time: 1 hr., 15 min.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for over 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

Support the Chronicle  

More Zach Theatre
Outdoor Concert Kicks Off the Zach Theatre Season
Outdoor Concert Kicks Off the Zach Theatre Season
Music, moonlight, and Mickey Mouse thrills audience and performers alike

Dina Barrish, March 4, 2022

A Year Later, the Time Is Right for Another Conversation About <i>Notes From the Field</i>
A Year Later, the Time Is Right for Another Conversation About Notes From the Field
In the wake of George Floyd’s murder, Zach Theatre streamed its staging of the 2019 production and led a discussion on Zoom

Robert Faires, June 19, 2020

More Arts Reviews
Review: Austin Shakespeare's <i>A Midsummer Night’s Dream</i>
Review: Austin Shakespeare's A Midsummer Night's Dream
Less-than-magical production salvaged by a night of unexpected spontaneity

Bob Abelman, May 13, 2022

Review: Zach Theatre's <i>Somebody Loves You, Mr. Hatch</i>
Review: Zach Theatre's Somebody Loves You, Mr. Hatch
Surprisingly minimalist adaptation of beloved kids book still enchants

Bob Abelman, May 6, 2022

More by Trey Gutierrez
Jo Carol Pierce’s <i>Bad Girls Upset by the Truth</i>
Jo Carol Pierce’s Bad Girls Upset by the Truth
This revival of Jo Carol Pierce’s one-woman show from the Eighties pays loving tribute to the author without really coming into its own

March 20, 2020

Vortex and New Manifest Theatre's <i>good friday</i>
Vortex and New Manifest Theatre's good friday
Kristiana Rae Colón's shocking drama puts audiences at the intersection of gun violence and sexual assault, and makes us think about both

March 13, 2020


Zach Theatre, J. Robert Moore, Nat Miller, Martin Burke, David Sedaris

One click gets you all the newsletters listed below

Breaking news, arts coverage, and daily events

Can't keep up with happenings around town? We can help.

Austin's queerest news and events

Eric Goodman's Austin FC column, other soccer news

Behind the scenes at The Austin Chronicle

Information is power. Support the free press, so we can support Austin.   Support the Chronicle