Ideal time for Marriott’s merry revival of ‘Irving Berlin’s White Christmas’
“Irving Berlin’s White Christmas” — 3 stars
The cast of Marriott Theatre’s “White Christmas” is a cheerful bunch, but no member is merrier than Tyler Johnson-Campion.
A superb dancer/singer/actor making his Marriott debut, Johnson-Campion plays soldier turned song-and-dance man Phil Davis in the Lincolnshire theater’s revival of the Irving Berlin jukebox tuner, adapted from the 1954 film musical starring Bing Crosby, Danny Kaye, Rosemary Clooney and Vera-Allen.
Johnson-Campion’s megawatt smile reflects his delight, which is clearly shared by the rest of director/choreographer Linda Fortunato’s ensemble, which consists of topflight tap dancers and features several Marriott newcomers in supporting roles.
Johnson-Campion’s flirtatious Davis and the more romantically reserved Bob Wallace (Ben Mayne, a most affable crooner) are World War II servicemen who parlay their song-and-dance routine into Broadway success postwar.
At the request of an old Army pal, they meet sibling chanteuses: sensible Betty Haynes (Jacquelyne Jones) and sassy Judy Haynes (Kelly Felthous, a great dancer). Sparks fly, and soon the quartet is off to a Vermont inn where the Haynes sisters have booked a holiday gig. It turns out the inn is owned by Bob and Phil’s former commander General Henry Waverly (Rom Barkhordar), who runs it with help from the wisecracking former Broadway baby Martha Watson (Robin R. McGee, whose grand voice gets a solo workout in “Let Me Sing and I’m Happy”).
However, unseasonably warm weather has left the inn vacant and its proprietor nearly bankrupt. Bob and Phil come up with a plan to save the business. But, in the process, a misunderstanding arises that threatens Bob’s budding romance with Betty.
Time-honored tap routines dominate Fortunato’s affectionate, energetically choreographed show, the strength of which depends on Berlin’s songs, not David Ives and Paul Blake’s hokey book. The lullaby “Count Your Blessings Instead of Sheep,” the torchy “Love You Didn’t Do Right by Me” and the delicious “Snow” (featuring the principals, along with Cynthia F. Carter and Michael Kingston, whose bass serves as ballast) are all vocally satisfying.
The production numbers are equally impressive, including the swinging “The Best Things Happen While You’re Dancing” (a near showstopper featuring loose-limbed Johnson-Campion and spitfire Felthous) and the first-act finale, the dazzling “Blue Skies” (the choreography hints at Bob Fosse’s “Frug” from “Sweet Charity”). The actual showstopper, “I Love a Piano,” opens Act Two. Worth the price of admission, the taptastic number concludes with a frenzied dance-off during which Johnson-Campion and Felthous match each other’s lightning-fast footwork step-for-step.
Also deserving mention is soloist Time Brickey, former principal dancer with tap ensembles M.A.D.D. Rhythms and Stone Soup Rhythms (resident ensemble with the Chicago Rhythm Project). Brickey taps a coda to “Let Yourself Go” that is not to be missed.
Sally Dolembo incorporates a bit of humor into her 1950s era costumes by way of green tuxedos, flouncy, candy-colored dresses and circular skirts evoking a piano keyboard and music notes on a staff.
A nostalgic confection, “White Christmas” returns to a suburban stage at an ideal time.
The show opened Wednesday with a prologue set in 1944, the dialogue of which — coming as it did 24 hours after the polls closed — was particularly resonant. As Bob and Phil prepare to entertain their fellow servicemen (for whom Marriott’s audience stands in), Bob remarked “that’s quite a crowd we’ve got out there.”
“Looks like they’ve been through a war,” said Phil.
“They have been through a war,” replied Bob.
The line was followed by a pregnant pause — an acknowledgment, perhaps, of the just concluded presidential campaign.
The next two hours were filled with song and dance, a balm welcomed by all.
