by Shelley A. Sackett
‘Irving Berlin’s White Christmas: The Musical’ – Music and Lyrics by Irving Berlin; Book by David Ives and Paul Blake; Based on the Paramount Pictures film written for the screen by Norman Krasna, Norman Panama and Melvin Frank; Directed and Choreographed by Randy Skinner; Musical Direction by Michael Horsley; Scenic Design by Anna Louizos; Scenic Adaptation by Kenneth Foy; Costume Design by Carrie Robbins; Lighting Design by Ken Billington; Sound Design by Keith Caggiano; Orchestrations by Larry Blank; Vocal and Dance Arrangements by Bruce Pomahac. Presented by Work Light Productions at the Boch Center Wang Theatre, 270 Tremont St., through Dec. 29.
From before the curtain rises until well after it has fallen, the live orchestra of ‘Irving Berlin’s White Christmas: The Musical,’ infuses the stage and the audience at Boston’s magnificent Boch Center Wang Theatre with wholesome, happy, good vibrations. This is a grandly old-fashioned and thoroughly enjoyable theatrical experience, with tap dancing, fabulous costumes, stunning sets and, most importantly, an incomparable score by the equally incomparable Irving Berlin.
The plot is straight forward. Bob Wallace and Phil Davis, two World War II vets, have become partners in a song-and-dance act after the war. Looking for love, they follow Betty and Judy Haynes, a duo of beautiful singing sisters, to a gig at a Vermont lodge. By coincidence, the lodge happens to be owned by their former army commander, General Waverly, who is facing bankruptcy and loss of his property. The “boys” rally their fellow vets, and together the troops help save the General and his legacy. Along the way, of course, everyone pairs up (including the General, with his manager, Martha Watson) and the three couples seem destined to live happily ever after.
The cast is full of stand out performances, especially Lorna Luft (yes, THAT Lorna Luft, as in Judy Garland’s daughter by producer Sid Luft) as Martha. She looks like a cross between Bette Midler and Madge (the manicurist in the Palmolive dish-washing commercials who soaked her clients’ hands in the detergent) and belts out her songs like Ethel Merman. She steals every scene she is in.
David Elder (Bob) and Jeremy Benton (Phil) are splendid as the two vets as are Kelly Sheehan (Judy) and Kerry Conte (Betty) as the sisters. All four have the acting, singing and dancing chops their roles call for. As General Waverly, Conrad John Schuck brings particular sensitivity and a terrific baritone to the role.
The real stars of the show, however, are the songs, dances and ever-changing sets and costumes. The tap-dancing numbers are spectacularly entertaining, the dancers like gifts, their outfits like wrapping paper. No detail is overlooked; the lining of the men’s jackets even coordinates with their partners’ skirts, and creative lighting adds dimension and excitement.
The blockbuster numbers — “Blue Skies,” “Happy Holiday/Let Yourself Go,” and “White Christmas” — are pure fun to watch, and the simple spotlights, white smoke and dancing stars in “Dancing Cheek to Cheek” create homespun magic. “I Love A Piano,” which opens Act II, is magnificent.
The entire production feels like a magic carpet ride to a carefree, innocent bygone era of Hollywood glamor and diversion. The icing on the cake is the full company curtain call of “I’ve Got My Love to Keep Me Warm,” complete with snow, trees, tuxedos and glamorous gowns. A sugar plum of a show, ‘White Christmas’ is guaranteed to delight the young and give their parents a vacation from the news. For tickets and information, go to: https://www.bochcenter.org/buy/show-listing/white-christmas-2019
