Review: IRVING BERLIN'S WHITE CHRISTMAS at Theatre Under The Stars

Going into Irving Berlin’s WHITE CHRISTMAS, you already know what you are in for. Most people have seen the film starring Bing Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen, released in 1954. And even if you haven’t seen the film, I would place bets that you could sing the entire theme song from memory with perfect lyrics. So Theatre Under the Stars and director Mitchell Greco have a lot to live up to with this one, and they deliver a holiday package that will delight most everyone. It’s a traditional musical, well-staged, with great sets, beautiful costumes, and a capable cast of singers and tap dancers that bring this show to life. This is the sort of thing TUTS does really well, and this sets the bar pretty high for future holiday seasons.

This is a gorgeous show, and I couldn’t think of anything merrier than this one right here. My only critique of WHITE CHRISTMAS is that the book by David Ives and Paul Blake hews too close to the film. It does omit a battle scene, but the theater isn’t going to deliver that kind of action scene well anyway, so it's a minor tweak to the narrative at best. But the movie has always been “light on plot” and “strong on song,” and so it is with this production. You’re coming for The Irving Berlin bops and the pageantry! And for those, TUTS and this cast deliver. 

Jarran Muse takes on the Bob Wallace role (played by Bing Crosby in the film), and he originated this part on Broadway. This is your chance to see someone who helped create the show originally, and he delivers a masterful performance that is all his own. He’s a great actor and singer, and he makes you not miss Bing (not an easy task!). Across from him most of the time is Drew Reddington, who plays Phil Davis. He gets to dance a lot more than Jarran, which makes sense given the movie role was originally intended for Fred Astaire. He seems born to be playing in this era, and I loved watching him tap his heart out on a white piano in a big production number. Courtney Markowitz and Karli Dinardo take on the Haynes sisters, who were Rosemary Clooney and Vera-Ellen in the cinematic take.

Markowitz is impossibly statuesque and striking, although her vocals were sometimes thinner than I had expected. No matter, she is grand as Betty. Karlo Dinardo seemed hesitant to jump up on the white piano and tap, but she hoofed along with Drew capably. It’s odd, but like the film, this show is primarily designed to showcase the men. Although the “Sisters” number remains a highlight of both acts. 

The supporting cast includes two absolute ringers, one a seasoned pro and the other a young child actor who belts like nobody’s business. Carolyn Johnson is a hoot and a half as Martha Watson, and she seems plucked straight out of the era. Her voice is huge, her comic timing is impeccable, and she steals any moment she is in. Allie Velasquez plays the youngest character, named Susan. She sings out her numbers so well and matches anyone playing with her in energy and delivery. This young woman is Broadway-level already! I loved her. Kevin Cooney is likable as General Waverly, and he sells the father-figure role. The rest of the cast is solid, and they are all wonderful dancers and singers. 

The design elements here are next-level. The set is a marvel that expands and contracts, and is constantly shifting at a rapid-fire cinematic rate. Anna Louizos is a magician! Collen Grady’s costumes are sumptuous and period-perfect. Kelley Jordan’s hair and make-up game is super strong. Krystyn Pope manages the tap-heavy numbers with panache as the choreographer. This production is handsome and really at a level that should make Houston proud. 

The real MVP here may well be director Mitchell Greco. He takes a show that is already imprinted on most audience members and gives them enough nostalgia to satisfy them, while also allowing the performances to become their own thing. Nobody does an impression, and everything feels as fresh as new snow. He constructs some gorgeous stage pictures, and WHITE CHRISTMAS cements him as a wise choice for Assistant Artistic Director for Theatre Under the Stars. I have always marveled at his musical productions, and he’s helming something that says, “I am going to level this all up a notch or two.”  I can’t wait to see what is next from him. 

If opening night was any indication, people are going to love WHITE CHRITMAS. The show was sold out, and the cast and production got a rousing standing ovation. It plays through Christmas Eve, and it would make a magical and memorable December 24th experience. Plus, in Houston, this may be the only way you are going to experience snow on the night of Christmas. You really can’t go wrong with a show based on one of the most successful films of all time, which features a single song that has broken all sorts of records for a holiday tune. It’s something comforting and reassuring, like a theatrical hug when you need it on a special day. Happy holidays! 

WHITE CHRISTMAS is presented by Theatre Under the Stars in the Hobby Center through December 24th. Be aware that in only a couple of blocks, there are many major holiday productions happening simultaneously in Houston’s Theater District. You may want to ensure you have dining reservations and a parking strategy in place. Parking in the Hobby Center garage is $20.

Houston Awards - Live Stats

Best Musical - Top 3

1. BRIGHT STAR (Spark Theater)

7.3% of votes

2. ROCK OF AGES (Standing Ovation Theatre)

6.1% of votes

3. THE LIGHT IN THE PIAZZA (The Sankofa Collective)

5.9% of votes

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