Do you recall the most famous reindeer of all?

Since the stop-motion television special has aired every holiday season since 1964, it’s hard to imagine an American unfamiliar with Rudolph the Red-Nosed Reindeer. Many count it as a Christmastime must, including Presser Arts Center’s Lois Brace.

“It’s my favorite Christmas TV show to watch,” she said with a gleaming smile.

Her enthusiasm for the story is almost palpable, especially with Presser scheduled to stage performances of “Rudolph the Red-Nosed Reindeer: The Musical” in December with Brace as its director.

Yet it’s a challenging play to pull off. The script is word for word compared to the beloved special. Audiences are likely to yearn for the same voices, the same mannerisms of the clay characters they know from the screen. And there are 27 roles to fill.

Rights for the play demand that Sam the Snowman must glide across the stage. No walking, no sliding of feet. The production notes suggest roller skates.

Brace also knows that talented actors shape their roles through their own interpretation of the character they play and that temptation will exist for whoever takes on Rudolph, Hermie, Santa, Yukon Cornelius and the rest.

So she must temper that aspect of the craft.

“We’re going to try hard not to disappoint,” Brace said. “It comes down to costuming and set.”

The thought of costuming sends her into another burst of glee.

“We have reindeer costumes coming,” she exclaims with another giddy smile.

Yet Brace explains the serious issues exposed by the script. There is bullying — remember when Rudolph tries to take part in the reindeer games? — and name calling. Those who are different, including toys, are cast out.

“Santa is rude,” she points out. “He’s hateful.”

As we all know, however, lessons are learned, people and creatures change for the better and everyone has a Holly Jolly Christmas.

Presser hosts auditions for Rudolph on Monday and Tuesday from 6 p.m. to 7:30 p.m. It’s an open call, meaning any one can give it a try -- no previous acting or vocal experience needed.

Brace encourages everyone to audition.

“It’s a great experience,” she said, adding that even if someone has no talent for singing, “a lot of people can sing well with others.”

As a director, Brace evaluates based on projection — that’s volume — the ability to take direction and the person’s dedication to the performance. Music director Ruth Nation and choreographer Kay Cook will seize on other abilities.

Brace won’t hint at special effects, although she indicates there will be surprises. Designing the set, which on television includes caves, a precipice and the Island of Misfit Toys, has another degree of difficulty.

Presser’s incoming technical director, Morgan Cornett, would face a significant challenge if it weren’t for the presence of Martin Keller.

“He has been an incredible set designer here for years,” Brace pointed out. “He’s extremely gifted.”

Brace anticipates interest in the show to be high come December, enough so that she already plans to open the balcony.

She believes the Presser production is the only one slated for stage this Christmas.

“It’s exciting,” she said.