Displaying items by tag: Rosemary Clooney

Paramount Theatre’s White Christmas unfolds like a living snow globe - bursting with holiday sparkle, sweeping dance numbers, and the timeless melodies of Irving Berlin. From the first notes to the final snowfall, the production wraps audiences in a nostalgic embrace, blending old-fashioned charm with Broadway-sized spectacle. Each scene glitters with warmth and wit, inviting theatergoers to laugh, swoon, and hum along as romance blossoms and friendships deepen against a backdrop of wintry wonder. By curtain call, the joy is infectious - sending audiences out into the night with hearts lightened, spirits lifted and smiles as bright as the marquee.

Paramount Theatre’s White Christmas sparkles like a holiday jewel box - both warmly intimate and magnificently grand. The theater’s historic stage transforms into a canvas of sweeping spectacle with majestic sets, while the lush resonance of a full orchestra directed by Korey Danielson gives Berlin’s timeless score a cinematic glow.

White Christmas tells the story of army buddies Bob Wallace and Phil Davis, who, after serving in World War II, reinvent themselves as a wildly successful song-and-dance duo. Their path crosses with the enchanting Haynes sisters, Betty and Judy, sparking a mix of romance, comedy, and showbiz sparkle. The foursome’s journey leads them to a cozy Vermont inn, only to discover it’s owned by their former commanding officer, General Waverly, now facing financial hardship. With loyalty and holiday spirit driving them, Bob and Phil rally their entertainment world connections to mount a spectacular Christmas show - one that not only saves the inn but restores the General’s faith in community and camaraderie. The tale blends laughter, love, and nostalgia, culminating in a finale where snow drifts from above and Irving Berlin’s “White Christmas” envelops the theater in timeless magic.

Phil Davis (Evan C. Dolan, left) and Judy Haynes (Jessie J. Potter, right) tap dance atop a piano, surrounded by fellow talented ensemble hoofers, in the popular tap number “I Love a Piano” in Irving Berlin’s White Christmas. Nostalgia, pageantry and spectacle come to life in Paramount Theatre’s 14th Broadway Series holiday season blockbuster. Stephen Schellhardt directs.

At the heart of the production, Alex Syiek embodies Bob Wallace with a commanding gravitas that instantly draws every eye to him. His stage presence is nothing short of magnetic - effortlessly blending charm, authority, and vulnerability in a way that makes the character pulse with life. When he launches into “How Deep is the Ocean,” the moment transcends performance and becomes pure artistry: his voice, rich and resonant, soars across the theater, wrapping the audience in waves of emotion. Each note seems to shimmer with sincerity, sending goosebumps rippling through the crowd and holding them in rapt silence. Syiek crafts an experience, a breathtaking highlight that lingers long after the curtain falls.

Evan C. Dolan and Jessie J. Potter electrify the evening as Phil Davis and Judy Haynes with tap-driven brilliance in “I Love a Piano,” their infectious energy matched by glowing precision. Sophie Grimm as Betty Haynes weaves glamour and wit into every scene, balancing romance with sharp comedic sparkle. Grimm’s voice flows with velvety smoothness, matched by a striking blend of power and precision. And grounding the story with gravitas is David Girolmo’s General Waverly, whose gruff exterior masks a deep well of tenderness, reminding us that the season’s true gifts are selflessness, community, and enduring bonds. Together, this ensemble stitches a holiday tapestry that flashes with spectacle yet pulses with heart - an experience as joyous as it is unforgettable.

Abby C. Smith also shines brilliantly as Martha Watson, the inn’s warm-hearted concierge, infusing the role with wit, vitality, and irresistible charm. She commands the stage with a natural ease, and when given the chance to unleash her powerhouse vocals in “Let Me Sing and Be Happy,” the theater practically vibrates with joy. Her voice radiates strength and exuberance, turning the number into a jubilant showstopper that leaves the audience grinning and applauding with unrestrained delight.

Beyond its iconic title tune, White Christmas offers a treasure trove of Irving Berlin gems that keep audiences humming long after the curtain falls. “Blue Skies” bursts with optimism and ensemble flair, while “Sisters” delights with playful charm and comic timing. “Count Your Blessings Instead of Sheep” slows the pace with tender intimacy, reminding us of the quiet joys of gratitude, and Alex Syiek’s soaring “How Deep is the Ocean” delivers a moment of pure vocal power that ripples through the house. The show’s choreography shines brightest in its showstoppers: “Snow” sparkles with ensemble energy and frosty whimsy, while “I Love a Piano” erupts into tap-driven brilliance, its infectious rhythm impossible to resist. And of course, the finale - Berlin’s timeless “White Christmas” - arrives like a gift, wrapping the evening in nostalgia and emotional payoff as snow drifts from above. More than a holiday musical, Paramount’s White Christmas is a glittering celebration of romance, comedy, and community spirit, stitched together with dazzling choreography and songs that linger like cherished memories of the season.

(Center L-R) Evan C. Dolan, Jessie J. Potter, Alex Syiek and Sophie Grimm with cast in White Christmas at Paramount Theatre through January 11th.

Tiffany Krause’s choreography in this production of White Christmas is simply breathtaking. This ensemble doesn’t just sing - they ignite the stage with dance that radiates brilliance and energy. From sharp, exhilarating tap sequences to sweeping partner and swing routines, the performers elevate the show to dazzling new heights. The number “Everything Good Happens When You’re Dancing” embodies the very spirit of the production, showing how romance flourishes and multiplies through the cast’s sheer joy, elegance, and remarkable artistry.

A timeless holiday favorite, White Christmas weaves together romance, comedy, and twinkling song-and-dance spectacle as two veterans-turned-entertainers join forces with a captivating sister act. Their journey to a snow-dusted Vermont inn blossoms into a story of love, laughter, and loyalty, culminating in a heartfelt mission to save their former general’s struggling lodge. Along the way, Irving Berlin’s melodies and dazzling choreography transform the stage into a celebration of community, generosity, and the enduring magic of the season.

Recommended for big holiday fun!

White Christmas is being performed at Paramount Theatre through January 11^th. For tickets and/or more information, visit https://paramountaurora.com/events/irving-berlins-white-christmas/.

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.