Review: WHITE CHRISTMAS THE MUSICAL at Ogunquit Playhouse

It is a clear sign of the December holidays when the Oqunquit Playhouse brings its theatrical magic to The Music Hall in Portsmouth. In their 11th year of collaboration, the season is blessed with a festive production of Irving Berlin’s White Christmas The Musical. Directed with a clear, celebratory vision by Mary Giattino, and featuring the impeccably recreated original choreography of Tony Award Nominee Randy Skinner, this show is a freshly minted holiday tradition.

Based on the 1954 Paramount Pictures film, the stage adaptation, with a book by David Ives and Paul Blake, preserves the warmth and humor of the original while amplifying the showstopping potential of Irving Berlin’s timeless music and lyrics.

The plot follows successful song-and-dance men, Bob Wallace and Phil Davis, who, after their wartime service, make it big on the variety circuit. Their lives take a romantic turn when they follow a captivating sister act, Betty and Judy Haynes, to a failing Vermont inn. They soon discover the lodge is owned by their former Army commander, General Waverly. When the general hits on hard times, the entertainers plot a spectacular scheme to bring their entire New York company north and save the day with a surprise show. It is a tale beautifully packaged with themes of friendship, romance, military service, and the enduring spirit of Christmas.

A.J. Shively (a Tony Award nominee) is stage perfect as the measured and occasionally crotchety Bob Wallace. Shively brings an affecting sincerity to the role, perfectly balancing Bob’s show biz exterior with his underlying tenderness. He possesses a beautiful, resonant voice perfectly suited to Berlin classics, bringing genuine emotion to ballads like "Count Your Blessings” and the iconic "White Christmas."

He shares a dynamic playful chemistry with Ashley Day, who is simply magnetic as the charming schemer Phil Davis. Day moves with the kind of effortless grace that makes difficult choreography look like a casual stroll, especially in the show’s most demanding dance sequences. His easy humor and perpetual smile make him an undeniable highlight.

The Haynes sisters are equally exceptional, providing both vocal power and comedic flair. Grammy Award winner Adrianna Hicks (Broadway’s Some Like It Hot) brings a powerful, soulful belt and cool, elegant reserve to the role of Betty Haynes. Her rendition of the torch song "Love, You Didn't Do Right by Me" is a moment of vocal brilliance.

Complementing her is a talented and effervescent Julie Kavanaugh, (an opening night understudy) in the demanding role of Judy Haynes. Kavanaugh's partnership with Day is as perfect as it comes with precision routines and engaging vocals. The famous number "Sisters" is beautifully sung by these two formidable performers.

Holding court as the General’s quick-witted, big-hearted secretary, Martha Watson, is the formidable Sally Struthers. A beloved staple of the Ogunquit Playhouse, Struthers commands the stage with a delightful, brassy flair. Her comedic delivery is impeccable, and she can belt a tune, like “Let Me Sing and I’m Happy” with theatrical panache. While I have seen her perform in more than a dozen Ogunquit musicals, this role in White Christmas is my new favorite. She is just pure fun to watch; a seasoned professional who continues to entertain with ease, charm, and an impish style. (Of course, I am still in awe of her from the cast of the legendary sitcom, “All in the Family,” that singlehandedly changed the landscape of television.)

Tony Award winner Cleavant Derricks makes a believable General Waverly who is easily upstaged by Clara Curtis as his granddaughter, Susan Waverly, full of youthful exuberance and a flair for song and dance.

The entire ensemble, the hardworking backbone of the show, is spectacular. Their mastery of the intricate tap and jazz choreography is astounding. Every dance number—from the joyous full-company opener "Happy Holiday" to the precision tapping of "I Love a Piano"—is a visual feast.

Music direction by Jeffrey Campos ensures that Irving Berlin’s lush orchestrations sound rich and vibrant, faithfully capturing the nostalgic swing of the 1940s. Original scenic design by Anna Louizos beautifully transports the audience from a bustling Florida nightclub, to an overnight train car, to the lobby of a cozy Vermont inn. The original costume design by Carrie Robbins showcases glittering gowns, crisp military uniforms and a sea of red and white Christmas inspired wardrobes.

The Ogunquit Playhouse can chalk up another success in its 2025 season which now runs far beyond the summer season and into the first snows of winter.