By Liz Christensen
White Christmas, at Hopebox Theatre in Kaysville, is a nostalgic holiday evening of courtship, show business, patriotism, and excellent music. Created as a film in 1954 to showcase Irving Berlin’s smash songs, particularly a new version of his popular “White Christmas,” and starring Bing Crosby, this musical is a love letter to show business and the armed forces. The thin plot follows three retired Army men, Private Phil Davis (Jeff Erickson, alt. Kurt Christensen,) Captain Bob Wallace (Justin Lee, alt. Ryan Bruckman,) and General Waverly (Wes Wright, alt. Buzz Zaugg) in their post-WWII civilian lives as successful showmen and a failing innkeeper respectively. When singing stars Wallace and Davis find their heroic leader downtrodden, forgotten and on the verge of foreclosure in Vermont, they decide to save the inn by mounting a Broadway show in the barn, and raise the General’s spirits by reuniting their old division to pay tribute. Rising stars Betty Haynes (Megan Cash, alt. Margaret Simon,) and Judy Haynes (Melissa Lawyer, alt. Stephanie Bruckman,) were already scheduled to perform at the inn, but no problems there. Wallace and Davis were already scouting the Haynes for a sister act, and these four were meant to pair off all along. Busybody Martha (Katelyn Johnson, alt. Becca Rhodes) is both helpful and unintentionally undermining. Boys meet girls. Misunderstanding ensues. Save the day by putting on a show. Simple, yes, but this talented cast and sincere production rescue the story from being tired or trite.
Lee and Cash are a great pair from the get go in “Love and the Weather.” Lee’s gentle and rich voice is a ubiquitous indulgence, while Cash’s voice is simultaneously shiny, silky, and substantial. Both actors enticingly navigate the hot and cold volatility of their characters’ relationship. Remarkable is the chemistry between Cash and Lawyer who are completely believable as sisters, conceivably singing together for years. Erickson is a light-hearted, sociable counterpoint to Lee and the two share a jaunty camaraderie. Erickson excels in his falsetto and frisky attitude in the reprise of “Sisters.” Especially good is “The Best Things Happen When You’re Dancing,” pairing Lawyer’s buoyant grace with Erickson’s light feet. All four perfectly embody the class and style associated with the crooner’s movie-musical.
Direction by Todd Wente and choreography by Krystian Wente make use of all available space in the uniquely-shaped theatre house, with much of the staging and dancing creatively compensating for the unusual difficulties presented by the awkward physical layout. “I Love a Piano” was the only crowded number even though the cast is sizeable, and the stage is not.
Lighting Design by Derek Raynor is colorful and playful, achieving decent coverage and focus despite a difficult set-up and low-ceiling. Set Design by Jason Wente is suggestive and particularly effective in Act I scene 3. Clever and efficient use of the upstage area provide more variety than anticipated. Notable is the work of Wig Designer Stephanie Bruckman and Costume Designer Shelbi Bentley. An array of lovely, colorful, fitting, and authentic costumes paraded through the show.
Come to this show for Irving Berlin’s iconic music and be enchanted thanks to music direction by Kirsten Jacobsen. The dynamics between Cash’s extraordinary, luxurious voice and Lee’s sincere, understated performance in “Love You Didn’t Do Right by Me/How Deep is the Ocean?” are arresting. Harmonies ring out in “Falling Out of Love Can be Fun” as trio Cash, Lawyer, and Johnson, each a gratifying soloist, blend precisely. The ensemble voices sail through “Snow” and heighten in “Blue Skies,” a high-energy end to Act I that showcases Lee’s suave charisma and Wente’s fun choreography.
Watson is hilarious in a largely expository character made indispensable by her flawless comedic delivery. Her sultry rendition of “Let Me Sing and I’m Happy” is a thrill. Wright’s portrayal of the General evolves as the evening encompasses a changeable ten-year stretch in the life of “the old man.” Wright’s deep voice and authoritative bearing at the top of the show are imperative to his ability to bring the show round to a touching conclusion.
Ensemble standouts include Jayden Barrera as Army vet turned Ed Sullivan Show producer Sheldrake who starts the show off with incredible energy and Cameron Ropp whose every appearance as Mike the stage manager is a side-splitter. I loved catching his detailed, engaged work throughout the evening. Lauralyn Malmstrom as Rita and Kelsey Porter as Rhoda are as effervescent as their humorously, ill-conceived tinsel costumes. Young cast member Taya Christensen (alt. Alissa Packer) holds her own as Susan among a mature and capable cast.
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White Christmas is a family-friendly show, even the “scandalous” bits are modestly handled, though low-level swearing peppers the dialogue.
Hopebox is a non-profit theatre with the beautiful mission of raising funds for cancer patients. Harmoni Racker is the beneficiary of funds raised by every performance of White Christmas at Hopebox this season. Her tender story of diagnosis and prognosis with stage 4 breast cancer detailed in the program and online will melt your heart. The gentle echoes of her presence throughout the show, like Easter Eggs in the set design and an earnest outreach by the cast after the curtain call, add to the glow of the evening. Bing Crosby’s singing was characterized by its warmth, clarity, and effortless swing. What better way to swing in the holiday than by making the effort to see Hopebox Theatre’s warm-hearted tribute to human decency, Berlin’s supreme music, and timeless love.
Hopebox Theatre presents Irving Berlin’s White Christmas
Hopebox Theatre, 1700 S. Frontage Rd., Kaysville, UT 84037
December 8 – 23 7:30 PM, 2:00 PM Saturday matinees
Tickets: $10-15
Contact: 801-451-5259, hopeboxtheatre@gmail.com
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