Diamond Head Theatre delivers a Christmas gift of nostalgia, in Irving Berlin’s “White Christmas,” in production through Dec. 15.
Inspired by Paramount’s film that was 1954’s highest-grossing hit, the stage show captures the heart and soul of the movie, via book by David Ives and Paul Blake, showcasing Berlin’s timeless music and lyrics that capture the spirt of the holidays.
However, the show has some issues.
Admittedly, there’s a lot of goodwill and cheer, thanks to the dedicated and dependable army of an ensemble of singers and dancers, garbed in vintage and vibrant costumes by Emily Lane. That’s definite a plus, visually and emotionally.
And the timeless Berlin tunes — “White Christmas,” “Happy Holidays,” and “Count Your Blessings Instead of Sheep” – make for an unforgettable stroll down memory lane.
Director-choreographer John Rampage, corroborating with Caryn Yee, stage impressive and spectacular tap dancing – who can resist tappers? – and lots of moves and momentum from the past, perfect for the timetable beginning at Christmas Eve, 1944.
The cast, led by Army buddies Bob Wallace (Adam Allison, in the Bing Crosby role in the film) and Phil Davis (David Sheftell, in the Danny Kaye role), are club crooners teamed as Wallace and Davis in Florida following World War II. They meet the Haynes Sisters, Betty (Lainey Hicks, in the Rosemary Clooney part) and Judy (Alexandria Zinov, in the Vera-Ellen role), known for their song-and-dance routine with blue feather fans, and they detour for Vermont instead of New York.
Their destination in Vermont is the Columbia Inn, which they discover is operated by retired general Henry Waverly (Joe Martyk) and is poised to be crowdless because there’s no snow. The entertainers commit to stage a show to attract patrons, and help raise funds for Waverly.
For me, the beacon in the show is Martha Watson (Mary Chesnut Hicks, radiating), a former Broadway star and currently the general’s housekeeper. The role in essence is a meddlesome woman, filled with wisecracks and humor, a wannabe trouper who radiates merriment of the holidays. Hicks has a couple of stirring numbers, “What Can You Do With a General,” performed with Bob and Phil, a solo on “Let Me Sing and I’m Happy,” and another beaut, “Falling Out of Love Can Be Fun,” with Betty and Judy.
However, the show is not without issues.
Wille Sabel’s hit-and-miss set design is a key distraction; apparently, there’s still designing challenges for the new DHT, which has been plagued with set shortcomings. The oversized backdrops – of Christmas ornaments, snowscapes – are serviceable and bright with Christmas hues. However, other set creations – tiny rooms, the nightclub scene, the unritzy front of the Regency Room in New York – reflect a lack of stagecraft funding and budgeting, resulting in clumsy and creaking sounds emanating when bulky pieces are moved on and off the stage. Dear Santa: Can you help boost funds for set design to match the riches elsewhere, like costumes? The oversized red-and-white box from which Wallace and Davis make one grand entrance was splendid, however. The red and black piano for the “I Love a Piano” number seemed to be out of sync of the times.
I’m no Grinch nor Scrooge; I love theater, and I’m a sucker for festive Christmas shows and songs. However, the continuing problematic sets become a detraction.
Happily, the finale complete with red Santa costumes and a reprise of “White Christmas” help elevate the holiday mood. And an audience sing-along before the final curtain, was a brilliant touch. And blissfully, the stage Christmas tree was twinkly and glistening, like a tree should be.
No complaints about Phil Hidalgo’s orchestrations, Jericho Sombrio’s sound, and Dawn Oshima’s lighting. Too, Akiko Shick’s hair and makeup for a cast of 30-plus is continuously remarkable.
Berlin’s “Blue Skies,” “How Deep is the Ocean,” and “I’ve Got My Love To Keep Me Warm” are reminders of his composing skills, non-Christmas fare with beaucoup appeal to seniors who remember singing ‘em in decades past.
Go see the show, to feel the glow. The finale snow is faux, but adds to the yuletide spirit.
Merry Christmas, one and all…
And that’s Show Biz…
‘White Christmas’
What: A musical with songs by Irving Berlin (music and lyrics) and book by David Ives and Paul Blake, based on the 1954 Paramount film.
Where: Diamond Head Theatre
When: at 7:30 p.m. Fridays and Saturdays and 4 p.m. Sundays, with select shows 7:30 p.m. Wednesdays and Thursdays and 3 p.m. Saturdays, through Dec. 15
Tickets: $41 to $68, at www.diamondheadtheatre.com or (808) 773-0274.