#1
Posted: 11/21/08 at 12:43pm
I love all kinds of musicals - PASSING STRANGE, [title of show], BILLY ELLOT, {Put Sondheim Musical Here), GREY GARDENS, but there times I just want a big lip-smacking triple scoop ice cream sundae of a show - and that's WHITE CHRISTMAS.
The ruggedly handsome ‘Bob Wallace’ of Stephen Bogardus and the titian-haired ‘Betty Haynes’ of Kerry O’Malley make a compelling pair. Despite the relentless apple-cheeked cheer all around them, both of their characters are moody and almost resolutely melancholy, wistfully expressing their feelings from the droll parallel duet “Love and The Weather” (a interpolated Berlin number, a ‘single’ introduced by Kate Smith in 1947), Bogardus’ tender “Count Your Blessings Instead of Sheep” and O’Malley’s knockout “Love, You Didn’t Do Right By Me”.
They contrast beautifully with Jeffry Denman and Meredith Patterson, both of whom ace their characters as well as their co-stars. Denman is far superior to the films Danny Kaye in appeal and singing (and he sings far better than most male dancers) as well as (obviously) dancing talents. His ‘Phil Davis’ isn’t slightly slimy like Kaye was, but is rather an overgrown, peppy Archie Andrews with a wide grin and roving eye.
I worship Vera-Ellen (really, who doesn’t) but Patterson’s saucy ‘Judy Haynes’ is a sparkling alternative, possessing both Betty Grable sass and gams. Both may offer audience ham, but there’s none tastier on Broadway – and yeah, audiences eat it up (sorry, couldn’t resist).
Both masters of the ‘old-school’ Hollywood-Broadway dance that has sadly become nearly extinct, Denman and Patterson have been dance partners for years and their chemistry is as integral to WHITE CHRISTMAS as Irving Berlin. Their numbers are high points, notably the second-act curtain raiser "I Love A Piano". Backed by a strong, on-target ensemble, Mr. D. and Ms. P. execute machine-gun taps that would make Fred and Eleanor proud – this and O’Malley’s solo elicit the loudest audience cheers.
To glibly dismiss the choreography (as some have on ATC) as ’42nd Street derivative’ is to miss Randy Skinner’s point entirely. Skinner’s choreography is an intentional homage to the classic Hollywood dance direction, vintage ‘30s-‘50s of Hermes Pan, Danny Dare, Seymour Felix and Robert Alton, hitting every movement exactly right. I disagree that the brief dance in the middle of ‘Love You Didn’t Do right by Me’ is an example of ‘not trusting that material’ - it’s necessary, as it forms a haunting backdrop for Bogardus’ “How Deep is the Ocean”. Robert Alton also realized the number needed a bit more movement when he choreographed Rosemary Clooney and her dancers in the WHITE CHRISTMAS film, but Skinner’s elegant version – set in the Allen room of one’s dreams - is markedly superior.
Ditto “Snow”, which in the film is unexcitingly rendered as a quartet sung in the Vermont-bound train. Skinner opens it up by adding a car-crowding sweater and mitten-clad chorus a la ‘The Trolley Song’ turning what was a minor number into a colorful, exhilarating group paean to the white stuff.
Could WHITE CHRISTMAS be improved? Well, yes. The paper-thin book scenes have an acre of corn and would benefit from zestier dialogue and better jokes. And even family musicals like WHITE CHRISTMAS could use a few more zingers like Susan Masur’s quip in Act 2, which gets the biggest laughs of the show.
I’ve seen the show twice (from orchestra and mezzanine) and both times the orchestra sounds full, luscious and not-overmiked– a real treat to such a score – with an overture, no less! - in a Broadway theater. No problems there at all.
Will I be returning? You bet. I have a bunch of tickets for myself and some out-of town friends for later in the run. After all, WHITE CHRISTMAS comes but once a year.
The ruggedly handsome ‘Bob Wallace’ of Stephen Bogardus and the titian-haired ‘Betty Haynes’ of Kerry O’Malley make a compelling pair. Despite the relentless apple-cheeked cheer all around them, both of their characters are moody and almost resolutely melancholy, wistfully expressing their feelings from the droll parallel duet “Love and The Weather” (a interpolated Berlin number, a ‘single’ introduced by Kate Smith in 1947), Bogardus’ tender “Count Your Blessings Instead of Sheep” and O’Malley’s knockout “Love, You Didn’t Do Right By Me”.
They contrast beautifully with Jeffry Denman and Meredith Patterson, both of whom ace their characters as well as their co-stars. Denman is far superior to the films Danny Kaye in appeal and singing (and he sings far better than most male dancers) as well as (obviously) dancing talents. His ‘Phil Davis’ isn’t slightly slimy like Kaye was, but is rather an overgrown, peppy Archie Andrews with a wide grin and roving eye.
I worship Vera-Ellen (really, who doesn’t) but Patterson’s saucy ‘Judy Haynes’ is a sparkling alternative, possessing both Betty Grable sass and gams. Both may offer audience ham, but there’s none tastier on Broadway – and yeah, audiences eat it up (sorry, couldn’t resist).
Both masters of the ‘old-school’ Hollywood-Broadway dance that has sadly become nearly extinct, Denman and Patterson have been dance partners for years and their chemistry is as integral to WHITE CHRISTMAS as Irving Berlin. Their numbers are high points, notably the second-act curtain raiser "I Love A Piano". Backed by a strong, on-target ensemble, Mr. D. and Ms. P. execute machine-gun taps that would make Fred and Eleanor proud – this and O’Malley’s solo elicit the loudest audience cheers.
To glibly dismiss the choreography (as some have on ATC) as ’42nd Street derivative’ is to miss Randy Skinner’s point entirely. Skinner’s choreography is an intentional homage to the classic Hollywood dance direction, vintage ‘30s-‘50s of Hermes Pan, Danny Dare, Seymour Felix and Robert Alton, hitting every movement exactly right. I disagree that the brief dance in the middle of ‘Love You Didn’t Do right by Me’ is an example of ‘not trusting that material’ - it’s necessary, as it forms a haunting backdrop for Bogardus’ “How Deep is the Ocean”. Robert Alton also realized the number needed a bit more movement when he choreographed Rosemary Clooney and her dancers in the WHITE CHRISTMAS film, but Skinner’s elegant version – set in the Allen room of one’s dreams - is markedly superior.
Ditto “Snow”, which in the film is unexcitingly rendered as a quartet sung in the Vermont-bound train. Skinner opens it up by adding a car-crowding sweater and mitten-clad chorus a la ‘The Trolley Song’ turning what was a minor number into a colorful, exhilarating group paean to the white stuff.
Could WHITE CHRISTMAS be improved? Well, yes. The paper-thin book scenes have an acre of corn and would benefit from zestier dialogue and better jokes. And even family musicals like WHITE CHRISTMAS could use a few more zingers like Susan Masur’s quip in Act 2, which gets the biggest laughs of the show.
I’ve seen the show twice (from orchestra and mezzanine) and both times the orchestra sounds full, luscious and not-overmiked– a real treat to such a score – with an overture, no less! - in a Broadway theater. No problems there at all.
Will I be returning? You bet. I have a bunch of tickets for myself and some out-of town friends for later in the run. After all, WHITE CHRISTMAS comes but once a year.
"Hurry up and get into your conga clothes - we've got to do something to save this show!"
Updated On: 11/21/08 at 12:43 PM
, Bing Crosby in (naturally) Blue Skies (1946) and (with Danny Kaye)in White Christmas (1954). 
