Musical Theatre West has the ideal cast, dancing and pizzazz to score a bullseye with the 2008 Broadway musical based on the 1954 movie.
“White Christmas” is probably one of the creakiest movie musicals ever made.
The show’s flaws, primarily revolving around the plot, are just as readily apparent in the Broadway musical stage adaptation, renamed “Irving Berlin’s White Christmas” – but, thank heavens, they’re overshadowed by its phenomenal Berlin score.
That playlist includes “Happy Holiday,” “How Deep Is the Ocean,” “Count Your Blessings,” “Blue Skies,” “I Love a Piano,” and, of course, the title song, written in 1942 and the world’s best-selling single.
At Carpenter Center, Musical Theatre West’s staging hits the bull’s eye by doing all the 2000 show (on Broadway in 2008) requires to conceal the shortcomings of David Ives and Paul Blake’s book, which closely follows Norman Krasna, Norman Panama and Melvin Frank’s 1954 screenplay.
Director Todd Nielsen has a socko cast, making it hard to imagine any “White Christmas” staging being able to top these principals, supporting players and ensemble.
Next are musical director Dennis Castellano’s adroit – can we say masterful? – handling of the score and Keenon Hooks’ adaptation and restaging of Lisa Hopkins’ original choreography.
Adding the finishing touches are Debbie Roberts’ sparkling, often gorgeous period costumes, Jean-Yves Tessier’s lighting and Kevin Clowes’ technical direction.
Having Castellano and the band visible throughout, garbed and presented in spiffy white suits à la period nightclub orchestras, is a fine concept and creates visual elegance. The sticking point is that this crisp stylishness is sometimes at odds with the foreground action of the story – as when we move into the Vermont barn being used to resuscitate the General’s failing Inn.
It’s Christmas Eve, 1944. World War II has raged for three years, with no end in sight. Somewhere along the Western Front, the U. S. Army’s 151st Division is being entertained by two of its own: Capt. Bob Wallace (David Engel) and Private Phil Davis (Jeffrey Scott Parsons).
The unit’s beloved commanding officer, Major General Henry Waverly (Tom Shelton), announces he’s being relieved of his command, prompting an emotional farewell.
Ten years later, Wallace and Davis are now huge stars, seen coast-to-coast on “The Ed Sullivan Show.” When they catch wind that the Vermont ski lodge now run by Waverly is circling the drain, they rally the troops to ride to his rescue.
The guys are also soon involved with two beautiful, talented young singers, the Haynes Sisters. Phil and Judy (Tro Shaw) instantly strike sparks, but things are rockier between Bob and Betty (Rebecca Johnson), whose fate as a couple is in doubt throughout.
Most of this plot nonsense exists only to showcase Berlin’s extraordinary music which, in turn, is used to show off the performers’ vocal and dancing talents. MTW’s strikingly impressive staging is musically solid and entertaining in every way imaginable, yet with a tone and feel that’s laid-back and easy to take.
Berlin’s songs are as fresh, entertaining and moving as in their day – even those from 70 or more years ago. “Blue Skies” is one of the best numbers in MTW’s staging, with suitable blue-and-white costuming and enjoyably Fosse-like dance moves. Featuring Parsons and Shaw, the “I Love a Piano” number delivers another musical highlight, perhaps the best overall.
The classic wintry Berlin number “Snow” perks up Act One, while a full-blown, literally glistening rendition of “White Christmas” closes the show using the entire cast, who encourage us to sing along with them.
Engel, Parsons, Shaw and Johnson have the unenviable task of capturing and channeling styles and personas of the ’40s and ’50s while also being relatable to today’s audiences. Generally, they do exactly that.
Engel’s silky, soothing low tenor vocals elevate “Blessings” and “Ocean,” proving he’s as close to a modern-day Bing Crosby as we’ll ever likely see.
Johnson may not have the star power of a Rosemary Clooney (the movie’s Betty), but her vocal talent more than suffices: Dig her sultry work in the solo torch song “Love, You Didn’t Do Right By Me,” or how she and Shaw sparkle in the delightful duet “Sisters.”
Where Danny Kaye’s movie Phil is a rubbery, anxious goofball, Parsons’ persona is more the young, cute playful kid brother to Engel’s older, more jaded Bob. Likewise, Shaw is a sparkling Judy, glowing brightly alongside the more staid Betty.
In her solo “Let Me Sing and I’m Happy,” Cathy Newman’s Ethel Merman-like Martha “The Megaphone” Watson is no Broadway belter, but gets the job done as a sort of minor-league Merman.
Tom Shelton’s Gen. Waverly echoes Dean Jagger (from the movie) as well as David Tomlinson, Ciara Tadeo is adorably adult as Waverly’s cutely precocious granddaughter Susan, Jeff Skowron amuses as Bob and Phil’s very New Yorkish ex-Army pal and now TV producer Ralph, and Katy Tabb and Missy Marion get us braying as ditzy dingbats Rita and Rhoda.
This “White Christmas” is plenty heartwarming without veering into cliché, its sentimentality wisely limited to judicious touches of holiday cheer.
When: Through Dec. 10.8 p.m. Fridays, 2 p.m. and 8 p.m. Saturdays, 1 and 6 p.m. Sundays
Where: Richard and Karen Carpenter Performing Arts Center, 6200 E. Atherton, Long Beach
Tickets: $22-$137
Length: 2 hours, 40 minutes
Suitability: All ages
Rating: ***1/2
Information: 562-856-1999 ext. 4, musical.org
