BWW Reviews: 'Let Yourself Go' at the Fulton's WHITE CHRISTMAS

It was, of course, inevitable that the 1954 holiday classic, WHITE CHRISTMAS, would be rolled over into a stage musical. The romantic comedy starring Bing Crosby and Danny Kaye, and featuring a collection of Irving Berlin tunes, was such a hit when it came out (its closest box office competition that year, THE CAINE MUTINY, only pulled two-thirds of the Christmas show's grosses) that it's merely a surprise that it wasn't staged sooner. There are a few differences between the stage show and the film, but by and large they're close.

Currently at the Fulton Theatre in Lancaster, directed and choreographed by Fulton artistic director Marc Robin, this production, heavy with chorus line dancing, is as good as it gets. The stage version is slightly lighter in plot than the movie, and the Fulton's version is lighter than most; it's as light and fluffy as the snow that finally arrives in an unseasonably warm Vermont, and audience members that know the songs will have to work at not singing along.

Bob Wallace and Phil Davis - Bing Crosby and Danny Kaye in the movie - are played by Curt Dale Clark and Brian Shepard on the Fulton stage. Shepard isn't Danny Kaye, but who can be? He's cheery and a terrific dancer, and that's what counts; you can't help but enjoy him. On the other hand, unless you're a huge Bing Crosby fan, Curt Dale Clark is probably far preferable than Crosby to a modern audience; his singing and his looks go considerably further with a crowd that isn't as familiar with the crooner than their parents were. As the supposedly serious, somber member of the stage duo of Wallace and Davis, Clark's Wallace is certainly thoughtful, but without the edge that Crosby had to him. And who wants edgy in a fluffy Christmas musical? Clark is more the Gene Kelly type, and there's not much better than that for a Christmas show.

The sister act of Betty (Tari Kelly) and Judy (Vanessa Sonon), the Hayes sisters, are the female Wallace and Davis, Betty the serious, thoughtful, and highly unromantic one, Judy the flirty, "fun" one. Their sister act routine, "Sisters," is itself fun and flirty, and Kelly does some fine physical comedy turns in the business after the song.

Judy and the upbeat Phil are an obvious likely pair from the moment they go to the dance floor in a club to "The Best Things Happen While You're Dancing," Bob and Betty are recognizable from the start as the pair that can't stand each other but will ultimately fall for each other hard.

But the four leads aren't the only great talent on stage. Sue Cella's Martha, the crusty former stage performer turned hotel manager, who's hiding secrets about a Vermont inn's finances from its owner - Wallace and Davis's old commanding officer - is delightfully funny, and her performance of "Let Me Sing and I'm Happy" is nothing but fun. Fran Prisco is ridiculously amusing as Ezekiel the farm hand, forced into working the barn theatre's stage curtains and riggings; he's the "Larry, Daryl and Daryl" of the show. And Fulton veteran Andy Kindig, playing Mike Nulty, the stage manager of the inn's barn theatre show, has an absolutely delicious breakdown trying to deal with Ezekiel.

There's an outstanding tap line on "Let Yourself Go," and a major dance extravaganza closing the first act with "Blue Skies." But the outstanding, completely Busby Berkeley, moment of the show is in the opening of the second act, with Robin's staging of "I Love a Piano." A revolving stage and a series of baby grand piano frames with sturdy lids provide the basis of one of the most extravagant dance numbers Robin has set on the Fulton stage recently. It's completely over the top and it's perfect. Go for this if for absolutely no other reason.

It's a lavish production - heavy on great costumes, heavy on great sets, heavy on great dancing, and on Clark's and Kelly's "can this romance ever get started" story line. It has everything right down to truly extravagant snow. (Go and you'll see just how extravagant that snow is.) If there's anything at all to mar the show's over-the-top fluffy holiday perfection, it's that barn theatre Christmas tree in the second act, whose lights are badly synchronized to distraction - a peculiar flaw in an otherwise almost unflawed look to the show. There are really horrid Christmas shows, painful to watch, whose tree lights are less irritating to someone sitting close to the stage. Perhaps it's intended to look rustic, but if so, the look doesn't work.

Broadway veteran Tari Kelly, a Christmas expert (she's played Mrs. Who, the mother of Cindy Lou Who, America's favorite Christmas tot), who's playing Betty, notes, "I've done White Christmas two other times, playing Judy. It's nice to see it from the other part!" She grins. "One of these days I'll play Martha." We may hope so - singer and hoofer that she is, she'll undoubtedly bring the fun she gives "Sisters" to "Let Me Sing and I'm Happy." Meanwhile, Cella is giving the number plenty of kick.

It's amazing that WHITE CHRISTMAS has as relatively solid a plot as it does, given that it's really an excuse to have an Irving Berlin revue, but what theatre and movie composer is worthier of it? The Jewish boy that brought a nostalgic secular Christmas to American entertainment, with a side helping of "Alexander's Ragtime Band" and several Tony Bennett albums of Great American Songbook tunes, deserved a Christmas show about a group of entertainers. That's what the movie was, and what this show is. Go and enjoy.

At the Fulton through January 4, 2015. Visit www.thefulton.org or call 717-397-7425 for tickets and information.

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