Happy Holidays: A Review of “White Christmas” at Marriott Theatre
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It’s that time of year again, when Santa Claus displays emerge on front lawns, fruitcakes line grocery-store shelves and audiences flock to a new production of “White Christmas.” Unlike fruitcake, there’s a good reason why folks still get a kick out of this show-within-a-show with a will-they-won’t-they love story—not least for the legendary songs by Irving Berlin (“How Deep is the Ocean,” “Happy Holiday,” “Blue Skies” and “White Christmas”). At Marriott Theatre through December 29, the merry bells keep ringing in this latest production, directed and choreographed by Linda Fortunato, which serves as a faithful re-creation but with original touches that keep the property fresh.
The play follows Bob Wallace (Ben Mayne), a tall, handsome showman who is dynamite on stage but more reserved with the ladies, and Betty Haynes (Jacquelyne Jones), a rising star whose powerful voice matches the pitch of her skeptical temperament regarding Bob’s affections for her. Sharing center stage is Phil Davis (Tyler Johnson-Campion), a ladies’ man and Bob’s exuberantly happy song and dance partner, and Judy Haynes (Kelly Felthous), who performs a sister act with Betty while keeping an eye on Phil’s philandering. These four serendipitously meet, and they decide to produce a show to support the failing hotel run by Bob’s and Phil’s former military commander, General Waverly (Rom Barkhordar), and Martha Watson (Robin R. McGee), the General’s lovable and nosy housekeeper with a big secret—and don’t forget little Susan Waverly (Meena Sood), the general’s pretentious granddaughter with aspirations for stardom (and the talent to get there). The cast show tremendous vocal ability, like tight, multi-part harmony in the song “Snow,” and all embody the 1950s aesthetic through speech, gait and mannerisms to create a satisfying air of nostalgia.
“White Christmas” is a tap dance-heavy show, and the high-quality of tap in Fortunato’s production might make it a standout among other Christmas-themed musicals this season. Johnson-Campion shows off his fast feet in “I Love a Piano,” dancing atop the instrument and exhibiting a flat-footed style while remaining bouncy and light. The ensemble produces clean, crisp taps audible without the need for amplification. Tap dance heavy-hitter Time Brickey bolsters their ranks and delivers a string of scuff-and-wings and furious “firecrackers” in a rousing solo. Choreography by Fortunato makes use of Marriott’s theater-in-the-round as dancers swirl in geometric patterns while performing a variety of classic and contemporary tap steps.
One must hand it to the Marriott sound-design team and engineers. The vocals of the performers and live orchestra are blended perfectly. A cappella tap dance is mixed well with the amplified taps of the leads. The theater-in-the-round setting and well-mixed, surround sound audio guarantee no bad seat in the house.
If you’re looking to uphold the tradition of seeing a Christmas show, “White Christmas” at Marriott Theatre is a solid choice. Fantastic dancing and faithful representations of Berlin’s trove of hits will have you singing “Happy Holiday” well into the new year.
