Stealing scenes is this Grinch’s specialty

Adelyn Frost’s Young Max leans into mischief with Reed Sigmund’s deliciously grouchy Grinch. Photo by Glen Stubbe Photography

Every holiday season in Minneapolis, there are certain rituals that mark the turn of the year more deeply than any calendar ever could — and Children’s Theatre Company’s production of “How the Grinch Stole Christmas!” is one of them.

This past Saturday, I walked into a completely full house — every seat taken — and it was a sea of Grinch-themed pajamas, bright green Grinch shirts, and little ones clutching Grinch stuffed animals being sold right in the lobby. There was even a colorful and fun Grinch cookie available from T-Rex Cookies — and the kids were thrilled before they even set foot in the theater. The room was genuinely buzzing.

This is the 13th time CTC has produced this show since it first premiered and commissioned it back in 1994. What is extraordinary is that the world of Whoville we saw on stage is still built from the original scenic pieces — they have been preserved, repaired, and brought back to life for each revival. It is theater not just as tradition, but as ancestry — Minnesota art history literally being shifted, carried, and protected year after year.

Reed Sigmund returning as the Grinch for his eighth time is a gift. His Grinch isn’t just mean and green — he is specific. His gestures are microscopic comedic instruments: the tilt of the chin, the bitter-slow chew of candy cane air, the sideways smirk that lets the audience in on the joke. Sigmund is one of those rare actors who can make a character terrible and lovable at the same time. He makes mischief feel like a moral arc, not just a punchline.

The staging around him is equally thoughtful. The lighting shifts from icy blue mountain shadow into shimmering holiday warmth — then into full Seussian pop, bold enough to make a child gasp but layered enough to satisfy the adults who are secretly (and always) watching the artistry. The costumes remain delightfully whimsical (designed by David Kay Mickelsen), the scenic world is charmingly storybook (Tom Butsch), and the choreography (Karla Grotting) keeps everything moving in that lively Seuss rhythm that feels like it’s pulsing right out of a classic illustrated page.

Chloe Sorensen, as Cindy-Lou Who, leads the Whos in full joy mode, with Autumn Ness and Janely Rodriguez singing behind her. Photo by Glen Stubbe Photography

This year, the audience also got a modern, playful wink: the inclusion of “six-seven” — one of those things so many theaters are referencing right now. When that moment landed, the entire room absolutely erupted. Kids laughed because the moment felt silly; adults laughed because they recognized the satire and timing. It was a perfect example of why this production works — CTC respects the heart of the original story but also allows the show to breathe in the present moment.

This run is two hours, with one 20-minute intermission. It is recommended for all ages. It is sensory-considerate. And yes: the Grinch does come into the audience. Parents: your kids’ faces during that moment will be a core memory.

In a world where the holiday season often becomes a checklist of errands, obligations, and transactions, this show reminds us that joy is not purchased. It is experienced. And shared. And returned to each winter like a familiar carol that somehow still lands new.

At a time when Minnesota nights get darker and colder, this show is a reminder that our light and warmth come from one another.

Editor’s note: This is the latest installment of Rachel’s Reviews, where Rachel Engstrom, a contributor to Eden Prairie Local News (EPLN), reviews various aspects of Eden Prairie and beyond. Do you have ideas for reviews? Reach out to Rachel Engstrom at rachel.engstrom@eplocalnews.org.