Jerome Kern, the noted lyricist, once said, "Irving Berlin is American music." With all respect to both Kern and Berlin, I'm not sure I'd go that far – Porter or Gershwin, anyone? – but for a time in the middle of the Twentieth Century, he seemed to eclipse them both. Popular, prolific and profitable, his shows gave us music we still hear, and contributed considerably to what we now call The Great American Songbook, that loosely-defined group of songs that are the base for much jazz and cabaret we hear today.
"White Christmas" takes songs from his work and puts them into the story we remember from the film of 1954. Two successful song-and-dance guys find out their former commanding officer is in financial straits at his Vermont country inn, and decide to put on a show in the inn's barn. (It's always the barn, you know? You'd think a town in this part of the world would have a Grange Hall.)
The story is firmly set in 1954, and one thing this production does is avoid the "Aren't we cutely nostalgic?" twee. The lack of self-consciousness makes for an easy evening, although I did hear someone behind me trying vainly to explain what the "Ed Sullivan Show" was to someone too young to drink.
The two heroes, slightly older Bob, played by Sean Montgomery, and Phil, Jeremy Benton, are ordinary-looking guys who remind us that talent, not looks were the main criteria for success in show business in those days, although that's not the message of the show. They're both really good at what they do, and Benton, in particular, is quite the hoofer. Montgomery even faintly resembles Bing Crosby, who had the role in the film. There's no attempt to emulate The Groaner, as Crosby was known, but his own voice is more than satisfactory, especially in "How Deep Is the Ocean".
Their opposites, the sisters Haynes, who have an act of their own, are Kerry Conte as Betty, the older sister, and Kelly Sheehan as Judy. (Sheehan was at the Muny this summer in "Holiday Inn", another Berlin pastiche.) Sheehan matches up well with Benton for their dance numbers and between skill, costume and wig, seems to have flown to St. Louis from some vintage movie, pretty much perfect for this. Conte is very cool towards her opposite, the older Bob, Sean Montgomery, to the point where there seems almost no chemistry between them at all, and whether it's the performer or a director's decision, there's less warmth in her performance, even when all is resolved, than feels desirable.
Working alongside them are Pamela Meyers as Martha Watson, the general's sidekick and hotel manager, who belts a song and delivers those great sidekick lines with considerable elan, Conrad John Schuck, who plays General Waverly with both gravitas and just enough warmth, and Elizabeth Crawford, opening night's Susan Waverly, the general's granddaughter. Miss Crawford is a young lady with considerable poise and sense of timing. She alternates with Samantha Penney in the role.
This is a smooth and professional production overall, from the scenery to the pit orchestra, and the Fox's sometimes-erratic sound system was right on all points. A couple of off-color lines, but generally a show for the whole family.
Irving Berlin's White Christmas
through November 22, 2015
Fox Theatre
527 N. Grand Blvd.