Stage Review - Irving Berlin’s White Christmas (5th Avenue)
Stage Review - Irving Berlin’s White Christmas
Presented By: 5th Avenue Theatre, Seattle, WA
Date Reviewed: Friday, December 1, 2023
Reviewed By: Greg Heilman
I can’t remember the exact details, like the year or the month, but I do remember where I fell in love with musical theatre. My school had taken a class trip to Washington DC, and one of the items on the itinerary was an excursion to the National Theatre to see a production of 42nd Street. I think we were up in the balcony, or at least somewhere far from the stage. It was during that production that I felt a tug of something, a something that reached into my soul and created a lifelong love of musical theatre that has ultimately led me to right here, typing these words. I surely wouldn’t be here had it not been for that moment. And true, this is not a review of 42nd Street at the National Theatre in Washington DC in 1980-something. But it’s important for the context of what I am reviewing. I’ve been to umpteen shows across the country throughout my life. I’ve seen some good ones, and I’ve seen some that I wouldn’t seek out a second time, but I’ve not had any that gave me that same feeling, nothing that has touched my soul like that initial version of 42nd Street, at least that was the case until this past Friday night when I attended opening night for Irving Berlin’s White Christmas at The 5th Avenue Theatre. This isn’t to say that White Christmas is the perfect production, I’m not sure that even exists, it IS live theatre after all, but what it did do is remind me of why I love musical theatre. Every single aspect of this show seemed to reach me at a level that filled me with so much joy, a feeling that has rekindled both my holiday spirit and my dedication to this uniquely beautiful art form.
It’s true, I have an affinity for Irving Berlin’s White Christmas. The film version, the 1954 classic starring Bing Crosby as Bob Wallace, Danny Kaye as Phil Davis, Rosemary Clooney and Vera-Ellen as the Haynes sisters Betty and Judy, is a staple in my house, required viewing on Christmas Eve. The stage version is adapted from the film, and while there are a few plot changes in the interest of time, and some musical numbers that were left out and others added to feature new characters, the essence of the story is generally the same. Wallace and Davis, sidetracked on their journey to Florida by the Haynes sisters, instead end up in an inn in Vermont for the Christmas season. Determined to leave as soon as they can, not helped by the fact that there’s no snow at the resort, and hence no visitors, they soon find a purpose, that is to help the inn keeper, their old General from the Army, make something of this unfortunate turn in the weather.
The 5th Avenue Theatre version of Irving Berlin’s White Christmas, directed by James A. Rocco and David Armstrong, is everything that is good about the film version and then some. The story is brought to life in vibrant colors, with exquisite sets and elegant costuming from Anna Louizos and Carrie Robbins, respectively. Each creative aspect comes together to form a tapestry of wonder that builds in complexity and design until the final “production within a production” scene that is just an amazing spectacle. That’s probably the best word to describe this entire show, it truly is a spectacle. From vignette-like scenes in dressing rooms and rail cars, to grander scenes such as Betty’s spite gig at a nightclub where she sings “Love You Didn’t Do Right By Me”, the staging of each piece of this show is done with an enormous amount of detail. The show goes big, and seems to go bigger as it moves forward, and it doesn’t miss.
There is so much to like about this show, in addition to the creative elements as well. For me, it starts with the casting of Ashley Day as Bob Wallace. Now, as much as I love the film, and Bing Crosby, I’ve sometimes questioned the casting of Bing in this role. For my money, he’s not as believable as someone who may be a bit younger in what that version is trying to accomplish with the character. And this is one of the things that I’m most excited to talk about with this particular production, and that is Ashley’s performance. Ashley has a command of the role, for sure, he’s the lovelorn leader of Wallace and Davis, seemingly more focused on his career than recreation, and he’s the fulcrum on which the show balances. He leads this cast with a steady hand and a heck of a lot of talent. Add to his ability to understand the nature of the role his excellent singing voice and dancing chops, and you’ve got a true triple threat. His performance of “Blue Skies” to close out Act 1 is not just good, it’s mesmerizing. The fluidity of his movement, his angles, everything about it is top notch. He is also able to handle the range of emotions the role requires very well, from his annoyance of being played by partner Phil Davis and Haynes sister Betty, to his tender side in “Count Your Blessings”, it’s a solid performance all around. Bob’s partner Phil is no slouch either. Phil is played by Phillip Attmore, and he embodies the playful, less serious part of the duo very well. The film character played by Danny Kaye is a bit goofy, of course, but Phillip doesn’t just mirror Kaye’s performance, he makes it his own. And from a dancing perspective, he’s excellent. Featured in both “The Best Things Happen When You’re Dancing” and “I Love a Piano” with love interest Judy Haynes, his sense of movement is also praise worthy, with the latter of those two numbers receiving the longest amount of opening night applause save for the end of the show. Phillip’s chemistry with Taryn Darr, who plays Judy, needs to be spot on for these numbers to work, and boy do they. This entire group is made up of excellent dancers, and Taryn is right up there. Her Judy is otherwise very good, especially when she catches Phil with a bit of a wandering eye, or when the pair are conspiring against their partners.
Judy’s sister Betty is more serious, much like Bob is more serious than Phil, which is what makes the match between the two (Betty and Bob) work so well in this show. Neither has given that much time to affairs of the heart, but when they lower their walls, they realize what they’ve been missing. Betty is played here by Cayman Ilika in a most excellent turn. Cayman holds her own with the other leads when it comes to dancing, but it’s her voice that truly makes her stand out from the rest. She and Taryn are wonderful in “Sisters”, and Cayman is both elegant and seductive in the sultry “Love, You Didn’t Do Right By Me”, one of my favorite moments of the show. The main group of actors is rounded out by Reginald André Jackson as Wallace and Davis’ former Army commander and struggling inn keeper, Candice Song Donehoo as Martha, the inn’s receptionist, and Susan Waverly, the General’s inquisitive granddaughter, played on opening night by Gia Pellegrini. Reginald is solid as General Henry Waverly, it’s clear that the character is finding it difficult to transition to civilian life, and doesn’t want help from anyone. The General has his own walls up, his own issues to work on, and Reginald is there every step of the way to guide his character through. Candice’s character Martha isn’t in the film, and it seems for awhile that she’s just an ancillary character here as well, but when Martha has a chance to step up, Candice is a wonder, perhaps the biggest, and best, surprise of the show. Gia is alternating the role of Susan with Beatrice Cramer, and she’s very good as well. A fine example of the amazing young talent we have in the region.
It indeed does take a village, though, and in addition to the leads, the ensemble doesn’t miss a single mark. This group adds depth in their singing and dancing to this production, creating a real synergy among the actors. Each ensemble number, including “Snow” and “Blue Skies” are professional and precise. The supporting cast, highlighted by Brandon O’Neill as Ralph Sheldrake and the hilarious Seán G. Griffin as Ezekiel is excellent as well. Finally, not enough can be said about the orchestra as well, under the direction of Beth Grimmett-Tankersley. Their accompaniment surely helps to raise the level of quality of White Christmas, and contributes, along with Matt Perri’s overall music direction, to make this a truly remarkable show.
The 5th Avenue production of Irving Berlin’s White Christmas is not just good, it’s inspiring. It’s the kind of show that is bigger than the sum of its parts, presented by a group of creatives, cast, and crew, that is as good as it gets. White Christmas is a true tour de force, and it won’t just rekindle your holiday spirit, rather if you’re anything like me, it’ll reach down into your soul and remind you of every reason why you love musical theatre.
Irving Berlin’s White Christmas runs onstage at the 5th Avenue Theatre in Seattle through December 24. For more information and tickets, visit https://www.5thavenue.org/.
Photo Credit: Mark Kitaoka
