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Theatre Louisville now brings reviews to Louisville Mojo. To inaugurate our new affiliation, Cory Vaughn writes about White Christmas.
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KEVIN McCOLLUM, PAUL BLAKE, THE PRODUCING OFFICE,
DON MARKLEY, SONNY EVERETT
in association with PARAMOUNT PICTURES
and PNC BROADWAY ACROSS AMERICA present
Irving Berlin's
WHITE CHRISTMAS
Based upon the Paramount Pictures film.
Music and Lyrics by IRVING BERLIN
Book by DAVID IVES and PAUL BLAKE
Choreography by RANDY SKINNER
Directed by WALTER BOBBIE
Reviewed by Cory Vaughn
Entire contents are copyright © 2009 Cory Vaughn. All rights reserved.
The stage version of Irving Berlin's White Christmas probably holds more surprises for those who have seen the motion picture on which it is based, than for those who have not. My date for the evening belongs in the former group; she's seen the movie many times, and noticed every time something was changed in its translation from screen to stage. I, on the other hand, have never managed to see the film, and actively avoided seeing it after receiving this assignment, and yet I could predict every plot twist twenty miles ahead.
Predictability is not necessarily a bad thing here, though. White Christmas has a built-in audience that is counting on a faithful reproduction (according to my companion, they're getting a fairly close one). Besides, the movie was hardly revelatory when it was new! It didn't have to be. The book, in which two Army-buddies-turned-Vaudeville stars try to help out their old commander and his struggling Vermont ski inn by staging a hit show with the help of their new sister act – and oh, yes, doing all of this in a period of five days, no less – is a pleasant-enough framework on which to hang seventeen classic Berlin ballads, a couple creaky old punch lines, and some truly fantastic dancing.
The production is headlined by the two original leads from its 2008 Broadway version: Stephen Bogardus as Bob Wallis, the cynical, unromantic member of the Wallis-Davis duo (think Bing Crosby), and Kerry O'Malley as Betty Haynes, the elder and more reserved of the two sisters in his new backup act (think Rosemary Clooney). It's hate at first sight for these two, but in those days, it always was for the romantic leads. The show is handily stolen by their younger counterparts, David Elder as womanizing Phil Davis (think Danny Kaye) and Megan Sikora as feisty Judy Haynes (think Vera-Ellen). No points for figuring out that Bob and Betty will overcome a series of miscommunications and that Judy will eventually make an honest man out of philandering Phil.
I've heard and enjoyed many of their voices in Broadway cast albums and on XM75 before, such as Kerry O'Malley (from Into the Woods), David Elder (42nd Street and Titanic) and Megan Sikora (Curtains), but until now I hadn't had the pleasure of seeing them live. They're a treat! The fleet-footed and charismatic Elder and Sikora are particular standouts during their two big dance numbers, "I Love a Piano" and "The Best Things Happen While You're Dancing." Barry Flatman is also good, underplaying the role of cranky old General Henry Waverly to surprisingly moving effect. Then there's Lorna Luft, as his wisecracking concierge, who has only one song of her own and not the most memorable one at that, but with the family magic under her belt (her mother was Judy Garland, Liza Minnelli is her half-sister), this singer outdistances the song by a mile and turns "Let Me Sing and I'm Happy" into a show-stopper in an evening that's full of them.
I realize so far I haven't mentioned very many of the songs; rest assured, "Happy Holiday," "Let Yourself Go," "Blue Skies," "Count Your Blessings Instead of Sheep," and the title song are all there, too, among others. Ms. O'Malley, whose character isn't very showy as written, nevertheless finally gets a moment to herself in a fine eleven o'clock number, "Love, You Didn't Do Right By Me." In short, it cannot be said that this is a show where anyone will leave whistling the scenery!
The design team, however, provides plenty of eye-candy. Set designer Anna Louizos, costumer Carrie Robbins, and lighting designer Ken Billington create a vibrant color palette, from neon and slick during the New York scenes to homespun and cozy in a Vermont that looks right out of a Thomas Kincaid painting. The "Blue Skies" number that concludes the first act has been transformed into an elaborate Fosse-esque dance extravaganza, albeit in striking white rather than the trademark sleek black. The rest of the evening can best be described as delightfully square, just as its composer would have liked it.
Be sure to stay for the encore. If you think you know the ending, well, you're only half right. The title is White Christmas, but you may be surprised at just how white it gets. Let's just say that the ending provides for the best environmental special effect since the Splatter Zone at Evil Dead: The Musical.
Irving Berlin's WHITE CHRISTMAS
PNC Broadway Across America
(502) 584-7469
website
Playing at Whitney Hall
Kentucky Center for the Arts
501 West Main Street
Louisville KY 40202
Box Office: (502) 562-0100
Remaining Performances:
Friday, January 1 and Saturday, January 2 at 8pm
Saturday, January 2 at 2pm
Sunday, January 3 at 1pm and 6:30pm
Ticket Price: $22.50-$66.50
Starring:
Stephen Bogardus (Bob Wallis), Kerry O'Malley (Betty Haynes), David Elder (Phil Davis), Megan Sikora (Judy Haynes), Lorna Luft (Martha Watson), Barry Flatman (General Henry Waverly), Sarah Safer (Susan Waverly), John Anthony (Ralph Sheldrake), Richard Pruitt (Ezekiel Foster), Kilty Reidy (Mike Nulty), Jacob ben Widmar, Scott Brateng, Barry Busby, Abbie Cooper, Melinda Cowan, Brandon Davidson, Lianne Marie Dobbs, Steven Donahue, Lois Enders, Jenny Florkowski, Drew Franklin, Kristen Gaetz, Billy Griffin, AJ Hughes, Karen Hyland, Megan Jimenez, Matthew Kirk, Camille Mancuso, Emily Morgan, Brian Ogilvie, Lisa Ramey, Tory Ross, and Melissa Wolfklain.
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