White Christmas

 

Comparisons are odious. But when there is a movie as beloved and iconic as “Irving Berlin’s White Christmas” and it has been adapted for the stage by David Ives and Paul Blake, comparisons are inevitable. It’s obviously impossible to duplicate the familiar Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen combination.

Now at the Community Center Theater, this Broadway Sacramento production is flashy, colorful and a lot of fun. It’s also nowhere near on a par with the movie, so if you don’t expect that, you won’t be disappointed.

The story is familiar: The famous song-and-dance team of Wallace (Sean Montgomery in the Bing Crosby role), and Davis (Jeremy Benton) meet the aspiring sister act of Betty Haynes (Kerry Conte in the Rosemary Clooney role), and Judy Haynes (Kelly Sheehan), and head to a ski resort that turns out to be run by Wallace and Davis’ old World War II commanding general (Conrad John Shuck, a familiar face from countless Broadway and television roles), who has fallen on hard times and is looking at a bleak ski season, as Vermont is experiencing unseasonable warm temperatures.

The story turns into “find a barn and put on a show to save the general,” and it all ends predictably with beautiful snow on stage and in the audience.

However, there are plot differences from the movie, new characters and character twists, and additional Irving Berlin songs not found in the movie, such as the show-stopping tap number, “I Love a Piano” (which film buffs will recognize from “Easter Parade,” not “White Christmas”) and “Blue Skies,” to name but two.

One problem with the transition to the stage is that with the addition of songs, there is no time to develop characters or deepen relationships, so, for example, the “loathe him — love him” relationship between Betty and Bob requires a lot of suspension of disbelief.

My biggest disappointment, however, is that the finale of the movie, with Gen. Waverly being honored by his old platoon, packs a huge emotional wallop that cannot be achieved on stage without doubling the size of the cast. This production tries, and it kinda, sorta works, but it lacks a lot.

As for the performers, Montgomery is a pleasant Bob, but with a sharp edge to his voice that makes me long for a real crooner in the role. Benton, however, is a perfect Phil and pairs nicely with Sheehan as Judy, especially in the dance numbers.

Conte, whose bio says she has been playing Betty for 11 years, has certainly perfected the role by now. She’s a great chanteuse who gets a chance to display her vocal chops especially in the torch song “Love, You Didn’t Do Right By Me.”

The role of Martha Watson, the crusty but lovable dame who runs the general’s inn, is played by Lorna Luft. Martha was at one time known as “Motormouth Martha” in her old performing days. Luft belts out her songs and does credit to mama Judy Garland, especially with her “Let Me Sing and I’m Happy.”

The general’s granddaughter is played by twins Clancy and Samantha Penny. Clancy played opening night and was an audience favorite at the curtain call.

Making the most of a the tiny role of Ezekiel, the laconic stage hand, Frank Ridley was perfect.

The set design by Anna Louizos was spectacular with several very large set pieces to bring on or off throughout the show, though the pieces were so heavy it was impossible to keep the rumbling of the set change quiet during the filler scenes in front of the curtain.

Carrie Robbins’ costume designs were lush and wonderful, and worth the price of admission by themselves.

This is an enjoyable show that is a great break after all the busyness of the holidays.

White Christmas

There is an old saying, “If it ain’t broke, don’t fix it.” Whoever decided to bring one of the most popular Christmas movies, “White Christmas,” to the stage did not follow that saying.

My criticism is of the musical itself, not of the Woodland Opera House production, which is excellent. The stage show does not allow for character development, and uses unbelievable situations. For example, it is “loathe at first sight” for Betty and Bob and it only takes overhearing a song lyric for Betty to turn around and fall madly in love with him.

The show also introduces songs not in the movie, which add little, don’t advance the plot and make a long show even longer; it clocks in at about three hours.

However, all that said, director Jeff Kean has done a beautiful job with what, according to audience reaction, was a very popular musical.

It is difficult to step into the shoes of such iconic performers as Bing Crosby, Rosemary Clooney, Danny Kaye and Vera Ellen, but Kean has found a quartet that do quite well. Scott Woodard, as Bob Wallace, is a crooner in the classic sense and has a smooth likability. Matt Kohrt, as Bob’s partner Phil Davis, is a talented hoofer with a pleasant demeanor who works well with Woodard.

Catherine Nickerson, as Betty Haynes, is new to the Opera House; she has a lush voice and can belt out a torch song with the best of them. Her sister Judy, as played by Kirsten Myers, is as cute as a button and is a good match in the dancing department for Kohrt.

As she did in the recent “Sound of Music,” Nancy Agee steals the show as Martha Watson, who helps run the inn in Vermont where the four performers find themselves. An old song-and-dance woman with a heart of gold, “Motormouth Martha” lights up the stage whenever she opens her mouth.

Steve Cairns gives a solid performance as Henry Waverly, the general “who stopped being a general” and is trying to make a go of it in this Vermont inn.

Devon Hayakawa plays little Susan Waverly, the general’s granddaughter. She is precocious and talented and does a great rendition of “Let Me Sing and I’m Happy.”

Chris Taloff, as Ezekiel, the slow-moving, slow-talking stage hand, turns what appears to be a genuine broken arm into something that makes his character even funnier.

Allison Ruanto and Kara Sheldon are the oversexed chorus girls, Rita and Rhoda, who spend most of their time giggling.

This is a lushly costumed show, with costumes designed by Denise Miles. The women’s fashions for the “Sisters” number are particularly beautiful, and Agee is a stand-out in her red lamé dress for the finale.

Sets, on the other hand, are just utilitarian. With so many scenes requiring different sets, set designer John Bowles had to sacrifice detail for ease of movement (and gets credit for fairly quick set changes).

Choreographer Staci Arriaga has given us some outstanding production numbers, much more complicated than one is used to seeing in a community theater. Woodland is fortunate, indeed, that its classes for young people include tap dancing, because the tap numbers, particularly the show-stopping “I Love a Piano” are simply outstanding.

The nine members of the ensemble — Eva Sarry, Kimmie Ruanto, Spenser Micetich, Julia Stapp, Crissi Kessler, Jenny Lillge, Erik Catalon, Shane Wright and Eric Alley — work so well throughout the show that they deserve having their names included.

Music director James C. Glica-Hernandez’s orchestra appears to be 12 strong, though only nine are mentioned in the program. The fuller orchestra gives a professional sound to the production.

With the Opera House all spruced up in Christmas finery, draped with greenery and lights and full of holiday cheer, this is a great way to treat the family to a Christmas classic. It hits high marks on so many points that it’s a real keeper.

Irving Berlin's "White Christmas"

Ask anyone to name their top five Christmas themed movies of all time and it’s a pretty sure bet that “White Christmas” will be on the list for most people.

When you transfer such a well-known and beloved film to the stage, you’d best be very careful to do it well, because a large portion of your audience is going to be watching to see how good a job you do.

Judging by the enthusiastic response on opening night of “Irving Berlin’s White Christmas” at the Sacramento Community Center, the experiment was an overwhelming success, despite what must have been a technician’s worst nightmare, with curtains that refused to cooperate (several times), lights that went on when they shouldn’t and off when they shouldn’t, audible banging from backstage, and set pieces that didn’t quite get into place on time.

Yet, the technical glitches didn’t seem to matter in this slick holiday pastiche, which will run through January 7.

While this show is, of course, based on the 1954 musical with Bing Crosby, Danny Kaye, Rosemary Clooney and Vera Ellen, don’t expect it to be a carbon copy.

The story of the famous song and dance team of Wallace (Michael Gruber in the Crosby role), and Davis (Greg McCormick Allen) who meet aspiring sister act of Betty Haynes (Christina Saffran Ashford in the Rosemary Clooney role), and Judy Haynes (Tari Kelly), and head to a ski resort which turns out to be run by Wallace & Davis’s old World War II commanding General (Stephen Godwin), who has fallen on hard times and is looking at a bleak ski season, as Vermont is experiencing unseasonable warm temperatures is familiar.

The story turns into a “find a barn and put on a show to save the General,” and it all ends predictably with beautiful snow on stage and in the audience.

However, there are plot differences from the movie, new characters and character twists, and additional Irving Berlin songs not found in the movie, such as “I Love a Piano” (which film buffs will recognize from “Easter Parade,” not “White Christmas”) and “Blue Skies,” to name but two.

Michael Gruber has a lovely crooning voice, displayed best in his “Count Your Blessings.” Greg McCormick Allen is a talented hoofer with a pleasant demeanor who is a good partner for Gruber.

Christina Saffran Ashford displays a lush voice with her emotional delivery of “Love, You Didn’t Do Right By Me” and Tari Kelly (the role will be played by Taryn Darr beginning December 29) has a bubbly personality and gets a chance to shine in several dance numbers, especially the spectacular “I Love a Piano.”

Carol Swarbrick plays Martha Watson, the sardonic inn housekeeper immortalized by character actress Mary Wickes in the film. In this version of the story, however, Martha has a show biz background and when she belts out “Let Me Sing and I’m Happy,” she brings down the house.

Stephen Godwin was a world-weary General Waverly, who becomes a sentimental favorite as he tries to make the adjustment from military to civilian life, even 10 years after the end of the war. My only disappointment with this production is that “The Old Man,” Waverly’s surprise at finding all his old military outfit at the Inn, doesn’t pack the emotional wallop of the film.

Keaton Whittaker (who alternates with Olivia Spokoiny) is Susan, the General’s young granddaughter, who has show biz in her genes and belts out her own reprise of “Let Me Sing.” Whittaker is a real scene stealer and clearly an audience favorite.

Making the most of a the tiny role of Ezekiel, the stage hand, Clayton Corzatte was perfect and received an ovation at the final bow.

Anna Louizo’s set design was beautiful, with both detailed settings for the inn and splashy backdrops for the big dance numbers. The closing snow scene was straight from Currier and Ives.

Costumes by Carrie Robbins were straight out of 1954, with the huge crinoline skirts for the girls and shocking bilious green suits for Wallace and Davis’ first big production number.

The production is under the direction of James Rocco and David Armstrong and one of only four cities given special permission to present this new stage adaption during this holiday season.

Ticket sales are brisk, but there are a still few left to be had. Call now for a chance to take your family to see this delightful holiday gift to the Sacramento area.