Displaying items by tag: White Christmas

I've always had a deep fondness for the two timeless films Holiday Inn and White Christmas. These movies feature outstanding soundtracks composed by the legendary Jewish American immigrant Irving Berlin. With a repertoire of 1,500 remarkable songs, including the iconic 'God Bless America', Berlin also sparked a Christmas revolution with his deeply emotional and sentimental classic, 'White Christmas'. Few are aware that Irving Berlin experienced a personal tragedy when he lost one of his children to sudden death on Christmas Day in 1928. Despite this, Berlin, an immigrant, always conveyed his profound love for America through his music. Like in 'God Bless America,' he consistently expressed his deep belief in the nation's potential for goodness, unity, and global leadership. Marriott Theatre's White Christmas is a heartfelt tribute to Irving Berlin and offers a wonderful opportunity for audiences to embrace the Christmas spirit.

White Christmas revolves around two talented entertainers, Bob Wallace (Ben Mayne) and Phil Davis (Tyler Johnson-Campion), who form a successful song-and-dance duo after World War II. They encounter singing sisters, Betty and Judy Haynes (Jacquelyne Jones and Kelly Felthous), and follow them to a Vermont lodge owned by their former army commander, General Waverly (Rom Barkhordar).

With the lodge facing financial difficulties due to a lack of snow, the group decides to stage a spectacular show to attract guests and save the establishment. Along the journey, romance blossoms between Bob and Betty, as well as Phil and Judy. The film is filled with memorable musical numbers, including the iconic "White Christmas," and concludes with a heartwarming and festive celebration.

Linda Fortunato directs and choreographs this dynamic in-the-round production, seamlessly transitioning from one spectacular showstopper to the next throughout the evening. The show is further elevated by its four exceptionally talented leads, who bring delightful moments of romance, dancing and humor to the stage.

Ben Mayne initially portrays a slightly stoic Bob Wallace, the character originated by Bing Crosby in the 1954 film. However, as the performance progresses, Mayne’s sensitive acting beautifully reveals Wallace’s transformation from a man guarded and wary of love to one who is deeply and undeniably in love. Meanwhile, Tyler Johnson-Campion dazzles as Phil Davis, a role originally brought to life by Danny Kaye. His immense talent as a singer and dancer repeatedly brings the audience to their feet, with tap-dancing performances that seem to defy gravity and overflow with the exuberance of newfound love. 

Jacquelyne Jones, playing Betty Haynes—a role famously portrayed by Rosemary Clooney—delivers a poignant and heartfelt performance in 'Love, You Didn’t Do Right By Me,' capturing the depth of female grief with striking authenticity. Together, Mayne and Jones enchant the audience as their characters fall in love, beautifully showcased in their renditions of Berlin's exquisite love song, 'How Deep is the Ocean.' While Jones treats the audience with a wonderful performance, Kelly Felthous shines as Judy Haynes, a role played by Vera-Ellen in the film version, bringing an infectious joyous energy and singing with great glee and charm. Felthous and Tyler Johnson-Campion, both exceptional dancers, leave the audience in awe with their expert hoofing in the hugely romantic and fun number 'The Best Things Happen While You’re Dancing.'

Jacquelyne Jone and Ben Mayne in Marriott Theatre's 'White Christmas.'

Rom Barkhordar shines as General Henry Waverly, Wallace and Davis’s retired commander, bringing a blend of humor and warmth despite his gruff exterior. Meanwhile, Robin R. McGee delivers a truly breathtaking performance as Martha Watson, Waverly’s dedicated helper and hotel manager, with her rendition of 'Let Me Sing and I’m Happy.' McGee possesses an indescribable vocal range, delivering her performances with the power and grace of a seasoned star who dazzles brighter than ever. 

White Christmas is a delightful musical, brimming with wit and fun, featuring memorable song and dance numbers that truly leave a lasting impression. Among the numerous standout moments, the entire cast's rendition of “Blue Skies,” set against the breathtaking backdrop of real snow falling in Vermont, is a spectacular and uplifting highlight that will stay with me throughout the winter season.

I wholeheartedly recommend this timeless yet refreshingly vibrant production, brimming with Irving Berlin's endlessly inspiring and romantic music. It's perfect for audiences of all ages who wish to take a joyous journey into the past and fully savor the upcoming Holiday Season.

"Snow, snow, snow, snow, snow!"

White Christmas is being performed at Marriott Theatre through December 29th. For tickets and/or more show information, click HERE.

Irving Berlin’s White Christmas at the North Shore Center for the Performing Arts in Skokie 

is an absolutely fantastic seasonal Christmas show that pulls out all the stops!

I am a huge fan of the original film White Christmas and this talented cast, which was well-directed by Sasha Gerritson, brings so much of the magic of Irving Berlin's amazing music and the fun romantic storyline to colorful life from beginning to end. 

Tommy Thurston (Bob Wallace) and Jimmy Hogan (Phil Davis) play two World War II veterans with a successful song-and-dance act who meet and fall in love with two performing singers, Kelly Britt (Betty Haynes) and Anna Marie Abbate (Judy Haynes) who are sisters traveling by train to perform at what they are hoping will be a snow filled, vacationer packed holiday crowd at a quaint but flailing Vermont Inn owned by the two men's previous commanding officer. When the snow doesn’t arrive, they have to think fast if they want to draw that big holiday crowd.

All four leads are great singers and dancers! Wallace as Tommy Thurston really hits his stride with a deep note of romance with "How Deep Is the Ocean" in a call and answer number withKelly Britt (Betty Haynes) belting out “Love, You Didn’t Do Right by Me”.Britt is a delight and wows the audience in several numbers including the comical "Falling Out of Love Can be Fun". 

Alicia Berneche (Martha Watson, the inn’s concierge), is a mature actress who blows the audience out of the water when she transforms from what we think is an amateur wanting to join in on the show to a powerhouse singer and comedienne with her jaw-dropping and heart soaring performance of “Let Me Sing and I’m Happy”.

The stage is a holiday feast for the eyes. The costumes and large moving set are colorful, festive, and exciting. The huge Christmas trees are all lit magically and draw you into their warmth and glow. 

ALL of the dancers/ensembleare fantastic and positively wow the audience with a variety of dance forms including a spectacular tap dance to “Blue Skies”.

I LOVE a huge cast and seeing this many dancers onstage at once is a holiday treat for the eyes and ears that every single member of your family will be dazzled by. 

I highly recommend seeing this Joyful Christmas extravaganza in cozy comfort with all your family and friends. This great production show will make you appreciate the season as we ourselves are snowed in by our own freezing cold White Christmas! 

You know it’s that time of the season when Chicago gets blitzed by one holiday production after another. And, while many of them are well done and thoroughly entertaining, there are just a few that really stand out each year. This year, one of them is ‘Irving Berlin’s White Christmas’ now playing at Cadillac Palace on a limited run that holds its final performance on December 15th. So, don’t delay and make your way over to Cadillac Palace before this enchanting, warm and dazzling production packs up for the winter.

The story begins when two talented army buddies, Bob Walace (David Elder) and Phil Davis (Jeremy Benton), entertain the troops with song and dance numbers during World War II. They proudly serve under gruff General Waverly (Conrad John Schuck) who is all business but hints a liking towards the two and their routines. After the war, Bob and Phil take off to superstar status, appearing regularly on the Ed Sullivan show and selling out houses wherever they perform. But they still feel they are in need of a sister act to keep their performance fresh. Enter Betty (Kerry Conte) and Judy Haynes (Kelly Sheehan) – two attractive and gifted singer/hoofers that are looking for their big break. A plan to unite seems to go into action when Bob and Phil hear about General Waverly’s financial woes at the lodge he had purchased years ago called the Vermont Inn. The guests just aren’t coming in like they used to. Through a bit of finagling, the four head out to Vermont to put on a show that is sure to attract guests. They even invite a team of dancers to join them for this holiday extravaganza that will be performed – in a barn.

Concierge Martha Watson (Lorna Luft) is there to greet them as they arrive and soon the plan goes into action. Young Susan Waverly (Emma Grace Berardelli and Kyla Carter alternate) also volunteers to help – and even perform if need be. The fun is just getting started.

The cast is star-infused with Conrad John Schuck (M.A.S.H., Star Trek IV and VI, Curse of the Jade Scorpion and many other TV and Broadway productions) impressively taking on the role of a General who is having a tough time relating to the world after his Army days are over. Lorna Luft (daughter of Judy Garland and Sid Luft) is terrific as inn concierge Martha Watson and is both extraordinary with her vocal talent and her comedic timing.

Jeremy Benton and David Elder dazzle in 'White Christmas' at Cadillac Palace through December 15th

While Schuck and Luft are certainly big plusses, the production’s greatest success might be in its casting of Elder, Conte, Benton and Sheehan as our four leads. David Elder (I couldn’t stop thinking of Ken Berry circa early 1960’s) and Jeremy Benton are like peanut butter and jelly and highly believable as two -long-time best buds. At the same time, Conte and Sheehan are fun to watch together, but when the four are together, it’s like dynamite. They can dance, they can sing and they inject the perfect amount of comedy into each role. Though just about every song and dance number is a highlight, Conte’s “Love, You Didn’t Do Right by Me” is sizzling while Luft’s “Let Me Sing and I’m Happy” is highly enjoyable and showcases her adept singing talent. The enjoyable, high quality musical numbers are endless as favorites “Blue Skies,” “How Deep is the Ocean” and, of course, “White Christmas are performed to perfection. Randy Skinner’s choreography is tough to beat, each routine as impressive as the last, especially the big tap dance numbers.

Produced by Work Light Productions, the creative team is unstoppable with scenic design by Anna Louizos, scenic adaptation by Kenneth Foy, lighting design by Ken Billington and sound design by Keith Caggiano. This production is full of surprises up until its very last scene and is a tremendous ode to the 1954 classic film that starred Danny Kaye, Bing Crosby, Vera-Ellen and Rosemary Clooney.

Highly recommended as the perfect pre-Christmas celebration.

At Cadillac Palace through December 15th. For more show information, visit www.BroadwayinChicago.com.

I am from Miami, Florida and after moving to Chicago there was a time when I genuinely looked forward to the first snow of the year. I’d also wish for snowfall each year to bring us a white Christmas here in Chicago and this lovely production of ‘White Christmas’ at Theatre at the Center brought that joy back into my mind for the first time in years.

The story is about two servicemen, Bob (Matt Edmonds) and Phil (Justin Brill), who become big time entertainers after their army days. From performing in USO shows for fellow military troops during World War II to becoming a featured act on the Ed Sullivan show, the two pals are now looking for a "sister act".  It isn’t long before the two stumble upon Judy and Betty (both played wonderfully by Casiena Raether and Erica Stephan) and wind up not only finding two talented women to perform with but also finding true love. The tale is a timeless one thanks to Irving Berlin's classic music – and this cast does the book and lyrics of Berlin justice.

When Bob and Phil run across their old General, Henry Waverly (Neil Friedman), they happily offer to help out by lending their star presence by performing at his lodge in the hopes of attracting more guests. The retired General is on hard times having sunk his entire life saving into the lodge. Thankfully he has been keeping his head just above water thanks to the help he receives from his ever-loyal lodge hand Martha Watson (brilliantly played by Glory Kissel). It isn’t long before Bob and Phil enlist Judy and Betty and a host of fantastic dancers to put on the show of a lifetime at the General’s lodge. It is nothing short of touching to see the dedication Bob and Phil have towards General Henry Waverly.

I would totally see this production twice just to hear the everlastingly touching “How Deep is The Ocean”:

"How much do I love you? I'll tell you no lie

How deep is the ocean? How high is the sky?

How many times a day do I think of you?

How many roses are sprinkled with dew?

How far would I travel to be where you are?

How far is the journey from here to a star?

And if I ever lost you, how much would I cry?

How deep is the ocean? How high is the sky?"

“Blue Skies” was another showstopper with the entire cast tapping in blue and white to Irving Berlin's classic song about the very real exciting effects of new love taking place on the loving new couples:

"Never saw the sun shining so bright

Never saw things going so right

Noticing the days hurrying by

When you're in love, my how they fly

Blue days

All of them gone

Nothing but blue skies

From now on!"

(from lerft) Erica Stephan as Betty and Casiena Raether as Judy. Photo by Guy Rhodes

There was a palpable chemistry in the humorous courtship between the wry, dry Phil and slightly uptight and business-oriented Betty, which the whole audience picked up on and really enjoyed watching develop scene by scene.

Director Linda Fortunato is wisely able to draw out the fun in her own unique way from each song and also includes a few numbers cut from the motion picture, like "Falling Out of Love Can be Fun,” sung by Martha, Betty and Judy. The song gives the thoroughly modern advice, way ahead of it's time, that if you are heartbroken by one man you can pick yourself up and try again without shame.

"When you've find your lover has gone

Get your second wind and go on

There's an old affair that is there for renewing

In your grief, do you know what you're doing?

Falling out of love can be fun

Soon, you'll be swinging in a hammock on a porch

One arm wrapped around someone else

The other arm carrying a torch

Love can give a lady a clout

And she may be down but not out

Get yourself a date, don't you wait for the count of ten, then

Falling out of love can be fun!"

Talented Artistic Director Linda Fortunato wears multiple hats not only directing this production but providing its dazzling choreography. William Underwood gives this show its musical direction. 

Special kudos must go to Glory Kissel as the rowdy Senior hotel concierge for her entire performance and especially the showstopper "Let me Sing, I'm Happy." Kissel shows the youngsters in the cast just how it's done with her amazing dance and superb physical comedy skills while singing out about the pure Joy of being alive and happy.

The super talented ensemble blows everyone away with one fantastic tap or dance number after another.

It is truly thrilling to watch all those tapping feet moving in perfect unison. Other great numbers include “Heat Wave,” “I Love a Piano” and of course, the title song “White Christmas”, a song that Matt Edmonds sings to perfection as he captures the period so well with both his singing and acting.    

I can't recommend this production highly enough for audiences of all ages who are looking for a happy, fun-filled and joyous celebration of LOVE and of course SNOW, during this cold and oft-strenuous Holiday season. 

‘White Christmas’ is being performed at Theatre at the Center in nearby Munster, IN through December 22nd. For more information visit www.theatreatthecenter.com.

As I entered the Cadillac Palace Theatre – originally the Orpheum Circuit’s lavish vaudeville flagship before keeping up with the times to become a golden age movie palace – the simple, classy screen that hung over the stage gave me hope for the evening’s entertainment. There was the show’s title and logo, red and white on a bright blue backing, all nostalgia, all sheen, all promise of a combination of the silver screen, of classic composition, of live theatrical talent. I could hardly wait for the screen to rise and the show to start.

But first, in full disclosure, I’ve never watched the movie straight through. Sure, I’ve seen the whole thing in fits and starts and bits and pieces through the years (married, as I am, to one of its biggest fangirls). But I’m more of a fan of the rock and rollers – the Little Richards, the Orbisons, the Chucks and Jerry Lees and Buddies with something a little randier and a little rowdier and a little more real – who came along and did away with the post-war schmaltz. What I mean is, while I appreciate, no, adore, earlier Hollywood musicals like The Wizard of Oz or even Berlin’s Easter Parade, as well as later ones like The Music Man, I have no real sentimental attachment to Bing and Rosemary. I figured I’d be an objective audience, a fresh set of eyes and ears for this production.

The show began and these eyes and ears weren’t impressed. The sets were bright and looked the part – the scene with the song “Snow” on a train car was beautiful, a real mid-century-modern knockout – but they weren’t the 1950's real thing. The actors, too, were talented and pleasant as they played their parts, but they weren’t Bing or Rosemary or Danny or Vera. Nobody could be.

So, as the first act progressed, I remained unimpressed. The story (and the music, and the sets, and the cast) were fine, but the show needed some charisma, it needed some pizazz, it needed something.

Where that something did come up was when the show added tunes by Berlin that weren’t in the movie. These songs hadn’t been staked out by the film’s icons, and the current production’s cast wasn’t forced to approximate the ideal they’d set. They were fresher. They gave this cast room to show their talents, to show themselves, and not just takes on someone else. An example was “Falling Out of Love Can Be Fun.” Throughout the night, the female lead, Kerry Conte, had Rosemary Clooney’s shoes to fill, a task I did not envy. But during this number, she fit right into an Andrews-esque trio, her vocals polished, her moves authentic. The lead singer in said number, Karen Ziemba’s Martha, stood out not just here, but in her own featured piece earlier that also strayed from the film and added to the show. Other standouts included: young Makayla Joy Connolly, who had a fine feature of her own; Kristyn Pope, who lit up the stage as recurring Rita and part of the ensemble; and Conrad John Schuck, whose General Waverly/Innkeeper Hank was equal parts Patton and grandpa.

And as I said, while the first act dragged, the second act moved at a much better pace, better utilized the cast, and ended the night with some holiday cheer (spoiler alert: the show is called White Christmas). So if it’s an exact reproduction of the Technicolor glow and the old-microphone glisten of the film you’re after, stay in and watch it on TV. But if you’re just looking for a feel-good family jumpstart to the holiday season, then this might be the show to see.

White Christmas is being performed at Cadillac Palace Theatre through December 3^rd. For more show information visit www.broadwayinchicago.com.

“Irving Berlin has no place in American music—he is American music. Emotionally, he honestly absorbs the vibrations emanating from the people, manners and life of his time and, in turn, gives these impressions back to the world—simplified, clarified and glorified.” - Jerome Kern

There are shows that make one proud to be an American, proud to be Jewish and proud to be of immigrant descent and Hershey Felder as Irving Berlin currently performed at Royal George Theatre is one show that does all three. 

Felder proves yet again that he is a consummate master of the one person show. While his bio/docu/musicals about famous composers, from his George Gershwin Alone, to Fryderyk Chopin, to Ludwig van Beethoven, to Maestro Leonard Bernstein thrilled Chicago and LA audiences and critics alike, this production and his  portrayal of Irving Berlin is quite simply the icing on the cake of his career.

Irving Berlin, whose real name was Israel Isidore Baline and whose musical background included that his father was a cantor (singer for the Temple), was only eleven years old when he left his house to find work as a singing waiter because "there were too many mouths to feed" even with his pennies earned as a paperboy.

Although Berlin's first hits were more comical and vaudevillian like “Marie from Sunny Italy”, and “Alexander’s Ragtime Band”, to grab people's attention, it was the grief over the tragic death of his first wife that he credits with teaching him how to write a real song.

Like a chapter from a sad Lifetime movie, Berlin married his adorable twenty-year-old sweetheart took her to fashionable Havana for their honeymoon and five months later she died from typhoid fever she contracted on their week-long stay. 

Later he married socialite Ellin MacKay the daughter of the richest man in the United States, and wrote his classic, timeless love song, “Always”, about his pure joy at finding her. They were married for 62 years, and ironically her father disowned Ellin and Berlin for years for marrying a Jewish immigrant songwriter - until right after the stock market crash in which Mr. MacKay lost his entire fortune but Berlin wisely having purchased the publishing rights to ALL of his songs kept his finances relatively intact during the depression.

Everything went wrong,
And the whole day long
I'd feel so blue.
For the longest while
I'd forget to smile,
Then I met you.
Now that my blue days have passed,
Now that I've found you at last -

I'll be loving you always
With a love that's true always.

Days may not be fair always,
That's when I’ll be there always.
Not for just an hour,
Not for just a day,
Not for just a year,
But always.

Berlin’s songs include, “Blue Skies”, (composed for his daughter), “Heat Wave”, “How Deep is the Ocean”, “Puttin’ on the Ritz”, “Steppin’ Out with My Baby”, “What’ll I Do”, and the scores of “Annie Get Your Gun”, “Holiday Inn”, “Easter Parade,” and many more. We also learn that Berlin wrote “White Christmas” years after his son Irving Jr. was tragically found dead on Christmas morning at just three-weeks-old. In all, Irving Berlin composed 232 top-ten hits and 25 number one songs, and over 1500 published songs including one of his biggest hits, “God Bless America”.

I really loved the set which consisted of a lovely Christmas tree and piano with windows that opened onto a wonderful video presentation of the actual people, Berlin, his wives, etc as he tells a story about each. My only note for Felder is that he reconsiders having an intermission in any show he directs or stars in that is longer than 90 minutes as this one was. The audience was rapt the entire time but I felt the break in the middle would have allowed them to enjoy the show even more as a whole evening of entertainment with time to absorb and refresh between the two acts.

The artistic team for Hershey Felder as Irving Berlin is outstanding and led by Director Trevor Hay. Scenic Design is by Hershey Felder and Trevor Hay, Sound Design is by Erik Carstensen, Lighting Design is by Richard Norwood and Video Design is by Andrew Wilder. The Scenic Decoration is by Meghan Maiya.

“Hershey Felder as Irving Berlin” is a rich and fully enjoyable experience that is playing at The Royal George theatre through December 6^th. For more show information, visit www.theroyalgeorgetheatre.com.