BWW Interviews: WHITE CHRISTMAS' Jeremy Benton Hits the Road for the Holidays

Jeremy Benton is a journeyman actor, plying his trade all over the world, proving himself the consummate song and dance man in performances in countless theaters. Clearly, the charming and talented Benton has come a long way since he was dancing in his hometown of Springfield, Tennessee. Charming and self-effacing, flush with charisma and showbiz bravado, he's polite almost to a fault and brimming over with enthusiasm for musical theater.

Currently onstage with the national touring company of White Christmas, the Tony Award-nominated stage musical based on the classic holiday film of the same name, Benton is living out his childhood fantasies, realizing the starry dreams first instilled in him as he watched all manner of movie musicals on TV back home. He's an intelligent man, whose probing mind allows him to speak knowingly and authoritatively about a wide variety of subjects-"It's just how my mind works," he admits-but no subject is closer to his heart or more on his mind at present than his current tour, which finds him this week in Pittsburgh, performing the classic Irving Berlin score for appreciative audiences.

The show's getting rave reviews as it traverses the country, but with the holiday season already upon him, Benton was able to sit down to talk about his busy schedule and bringing the White Christmas spirit to audiences every night.

What's your history with White Christmas? I believe you told me you did the show years ago, right? I've been a part of the White Christmas "family" (on and off) for quite a while. The original company opened in San Francisco in 2004 at the Curran Theatre. I was still doing 42nd Street in New York at the time, but joined the company that next winter at the Orpheum Theatre in San Fran. I was understudying the role of Phil then, and danced all those incredible Randy Skinner numbers in the ensemble. They recorded the cast album that next summer, and I remember having such a blast recording that in NYC.

How is the tour going for you? You've done so many...how do you adapt to each new one? And how does it feel to return to your old stomping grounds in a new show? The tour is going wonderfully! We just had our official opening at the beautiful Benedum Center in Pittsburgh. It was a thrilling night. This town loves their theatre, and they come ready to play along. It's fantastic when the audiences really appreciate the choreography and style of these "golden era" type of musicals. It is interesting to return to all the theatres across the country on different tours through the years. It's actually funny, because I was trying to remember which show brought me to the Benedum. I finally figured out it was 42nd Street. It seems like I've seen many cities in many different seasons. Last time I was in Pittsburgh, it was warm. We were playing the Heinz Hall with Anything Goes, and I strolled casually around the city. Now, in this 28 degree weather, I set a destination, and sprint there!

How do you keep it "fresh" for yourself every performance? Well, this is really the $64 dollar question for actors, isn't it? I feel it's so important to balance consistency with spontaneity. When you're listening and in the moment, the show feels both familiar and fresh every night. And no show is ever the same. Each show has a little "life" in and of itself, each person bringing nuances that vary subtly, so the fact that we're live eight shows a week keeps it fresh already, ha!

How do you get on with everyone else in your ensemble? Wonderfully! What a collection of talented, kind, and fun show folks! From Pam Myers' infectiously fun energy to the majestic presence of Conrad John Schuck [who also calls Nashville home now], it's an embarrassment of riches on and offstage. My old buddy Cliff Bemis is back, reprising the role he originated, Ezekiel Foster. I met Trista Moldovan, the actress that plays Betty Haynes this summer in Sonoma, California, at the Transcendence Theatre Company. We were both excited to tour together this Christmas. And I always say that my character, Phil Davis has two dance partners in this show, Judy and Bob (much like Don Lockwood in Singin' in the Rain' dances with both Kathy and Cosmo). Chemistry of the actors has a lot to do with the success of these numbers, and I couldn't ask for two better partners in James Clow and Kaitlyn Davidson. The cast includes so many old and dear friends from this and other shows...it's not hard to feel like you are spending the holidays with family.

What's your favorite thing about the stage version of White Christmas? Your favorite number, your favorite costume piece, or something equally esoteric? I think my favorite thing about the stage version of White Christmas, is that it is its own "creature." There is so much nostalgia surrounding the 1954 movie, so constructing a musical theatre show of White Christmas took a delicate hand. The creative team did this masterfully, which has now produced a theatre experience each Christmas that is generating just as much holiday tradition as the movie.

As far as having a "favorite," that is a hard one. There are moments in each number that are thrilling to me. I love the song "The Best Things Happen While You're Dancing." I mean, come on! For a song-and-dance guy, this is more of an anthem than anything else. And my incredible partner, Kaitlyn Davidson, just makes it so easy. Act II opens with Phil and Judy "loving a piano," a tap number incredibly constructed by Randy Skinner, that, I have to say, is a tap dancing dream come true. It's mercilessly joyous for the audience, and equally as thrilling for us dancers. If I had to choose, I imagine I'd have to choose that moment, "I Love A Piano." It was added to the stage show as an Act II opener, and man does it do that. Incredible!

Why does White Christmas appeal so universally to theater audiences? I think its appeal lies with the great big heart this show has. A great big heart surrounded by some of the best songs ever written in the American Songbook, and some pretty outstanding and timeless choreography and orchestrations. General Waverly (Schuck) sums it all up when he quotes Bob Wallace (James Clow), and Mr. Berlin himself: "When you're worried, and you can't sleep...count your blessings instead of sheep."

Have you had any particular snafus that have proven the adage that "the show must go on"? Ah! Well, knocking on wood right now, not yet! I better stop typing or I may curse myself.

Where will you be spending the holidays this year? I'll be spending the holidays with my White Christmas cast. We will have shows through the holidays, so we will find time to all get together, have a big meal, and celebrate the season. If we can't be with our families back home for Thanksgiving and Christmas, at least we have our White Christmas "family" to have some egg nog, turkey and dressing with. I'm sure we'll all be lamenting about not fitting in our costumes, but oh well, the show must go on.

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