Review: MSMT's WHITE CHRISTMAS Is Pure & Perfect Magic

The thermometer in Brunswick Maine reads 85°F, but as one approaches the Pickard Theater, a band plays Christmas music outside, and inside the lights are twinkling; the halls are decked with garlands and wreaths; there is literally a forest of elegantly decorated trees, and there is a promise of snow in the air. This is, indeed, a white Christmas like no other.

The brainchild of Artistic Director Curt Dale Clark, Maine State Music Theatre has created “Christmas in July” with a spectacular production of Irving Berlin’s classic WHITE CHRISTMAS, directed and choreographed by Marc Robin as its centerpiece. This is a singular and sensational opportunity to experience a breathtaking Broadway musical in a beautiful fantasy setting. 

The extravaganza, which runs from July 17 to August 3, is a feast for the eyes, ears, and the heart. The appeal of WHITE CHRISTMAS over the ages has been its nostalgia, its ability to conjure up warm, happy memories of holidays, of family, of love and romance, all in a simpler age. MSMT offers that nostalgic experience combined with a theatrical production that is grand and gorgeous, an Irving Berlin score that is timeless,  and a cast who delivers warmth and emotional depth, together with brilliance and showstopping fireworks.

Director/choreographer Marc Robin has a close connection to the work and brings to it his extraordinary ability to find the beating heart of any tale and to tell that tale with soul and grace. Robin has a genius for creating incredible fantasy worlds; he understands the theatrical milieu that forms the background for WHITE CHRISTMAS; he finds the humor among the characters and offers the audience a banquet of visual surprises and choreographic wizardry. The production number “I Love A Piano” alone is worth the price of admission - a glorious, dizzying invention of tap virtuosity staged on moving pianos – that, quite simply, blows the audience away.

Music Director Brian Cimmet (Jacob Stebly, Associate Music Director) serves up the Berlin score with its twenty-two songs with sparkle and elegance and conducts the nine-piece orchestra with impeccable style, drawing from them a mellow big band sound.

The visual production offers a host of delights for the eyes and for the spirit. With a nod to the iconic film, it also creates a fresh, original, and contemporary look. The decor by Robert Kovach, with projections by Colin Riebel, recreates the 1930s world, the quaintness of Vermont, and the glamour of the New York night club scene. The projected tableaux alternate between realistic evocations of the Vermont inn and barn, the 1950s train, and the Neo Classical Regency Room – painted in soft pastels with the linear delineation of a Norman Rockwell – and abstract images of Christmas and musical icons which dance to the music.

Paul Black‘s lighting bathes the stage in warm nostalgia and adds that slight hazy glow of memory. And Shannon Slaton creates  the subtly changing soundscape. Ivan Dario Cano serves as the expert Production Stage Manager.

Costume Designer Jeff Hendry (Kevin Foster II, wigs) creates costumes that become characters. They retain hints of classic moments in the film, while adding luxurious touches. There are some stunning creations like Betty’s black sequin gown for the Regency sequence, which makes her look like an elegant aristocrat stepping out of a Sargent portrait, and clever ensemble outfits such as the alpine sweaters and skirts that are “tied up” with Christmas bows for the final number.

The entire cast brings energy and commitment to the work. As Bob Wallace, Will Ray projects insouciance, mischievous charm, honey-toned vocals, limber dancing, and a compelling stage presence. His chemistry with the rest of the quartet sparkles, and he places his own mark on iconic moments like the haunting duet with Betty, “How Deep Is the Ocean?” and the melting rendition of “Count Your Blessings,” not to mention the lilting “White Christmas” that crowns the show. As his love interest, Betty Haynes, Kerry Conte projects just the right combination of dignity, elegance, and genuine wholesomeness. She possesses an attractive, dark-hued alto that creates lovely harmonies with the other quartet members, and her big number, “Love You Didn’t Do Right By Me,” is sung with velvety seduction.

Daniel Plimpton as Phil Davis plays the comic to Ray’s straight man and acquits himself as an accomplished dancer and comedian.  He is an impish, fleet-footed, and charmingly kinetic presence. Darien Crago gives an electric performance as Judy Haynes; she is a virtuosic dancer and a perky, upbeat member of the central quartet. The couple (who are married in real life) take advantage of numbers like “The Best Things Happen While You’re Dancing” and “I Love a Piano” to demonstrate their dance skills from tap to jazz to modern to Fosse to tango and ballroom with astounding ease as they completely captivate the audience.

David Girolmo gives a compelling performance as General Waverly, a man who sorely misses his military life and sense of purpose. Girolmo delivers his two monologues with stirring emotional force; during his touching Act Two address, one can almost hear a pin drop, and he is in every moment, gesture, and nuance a presence with which to be reckoned.

Charis Leos gives an endearingly zany, perfectly timed performance as Martha, the General’s housekeeper, who longs to rekindle her life on the stage. Brassy and bighearted, she brings down the house in “Let Me Sing and I’m Happy” and “Falling Out of Love Can Be Fun.”

Three young thespians [Laura Guzmam, Scout Martin, and Charlotte Van Ledtje] share the role of the General’s granddaughter Susan.  On opening night, Charlotte Van Ledtje portrayed the girl with a combination of stage-struck sweetness and gutsy determination, and she sparkled in the reprise of “Let Me Sing and I’m Happy.”

Mark Aldrich contributes several delightful cameos, the most amusing of which is his note perfect incarnation of the terse New England handyman, Ezekial Foster, who shuffles across the stage, murmuring “Ayup” to just about everything, but who then has a breakout moment of delightful song and dance. Jasmine Gillenwaters  as Rita and Emily Kelly as Rhoda also add a dollop of showgirl silliness to the mix. Joe Capstick is a stressed stage manager and Jeff Sullivan the fast-talking producer, Ralph Sheldrake. Tauren Hagans plays several troupe members and adds her dark-hues voice to the "Snow" sextet.

The ensemble members are all chosen for their triple threat skills and exceptional dancing. Stand out moments include the high energy, joyous show opener, “Happy Holiday,” “Blue Skies,” a sultry, jazzy tap number that showcases the company skills, and “I Love a Piano,” which gives new meaning to the concept of “ensemble performance.” Dance Captains Tyler Johnson Campion and Emily Kelly deserve kudos for their role in helping to bring this complex choreographic show to life with precision and grace.

In WHITE CHRISTMAS a band of actors arrives at a rundown inn in Vermont where the outside temperature is 68°, and set about to create a Christmas miracle. In bringing WHITE CHRISTMAS to the stage for the first time at MSMT, the company has created a miracle of its own. A ticket to “Christmas in July” allows the bearer to enter a world of pure imagination and to experience a magnificent production of WHITE CHRISTMAS – a production that radiates the true spirit of the holiday: kindness and giving, fellowship and counting one’s blessings. Among those many blessings for which we can collectively give thanks, surely we can count Maine State Music Theatre  as a very special gift to this community.

 

Photographs courtesy MSMT, Jared Morneau, photographer

WHITE CHRISTMAS runs from July 17- August 3, 2024, at MSMT’s Pickard Theater on the campus of Bowdoin College, 1 Bath Rd., Brunswick, ME  207-725-8769   www.msmt.org

 

 

 

 

 

To post a comment, you must register and login.