Review: WHITE CHRISTMAS at Turner Theater

Rarely do we see a white Christmas in Tennessee. Nonetheless, it has arrived early this year as Studio Tenn kicks off the holiday season with a dazzling, Broadway-caliber production of White Christmas, running from December 4 to 21, 2025, at the Turner Theater inside The Factory at Franklin. Based on Irving Berlin’s classic song, "White Christmas," and the beloved 1954 film, this holiday favorite is staged with all the nostalgia, romance, and big-band sparkle that made it a holiday tradition. David Ives and Paul Blake’s theatrical adaptation delivers a few surprises that may catch movie purists off guard. The stage version introduces new twists, additional musical delights, an expanded dose of lively choreography, and live music.

Worth mentioning that this year, Studio Tenn is embracing the show’s full Broadway spirit, adopting an authentic Broadway-style performance schedule for the first time in its 16-year history by delivering eight shows each week. Also highly worth recognizing, Studio Tenn has received special permission from Tony-nominated choreographer Randy Skinner to bring his original Broadway choreography to the stage once again.

“This is Broadway magic right here in Franklin,” says Patrick Cassidy, director of White Christmas and Studio Tenn’s Artistic Director. “This show captures what makes the holiday season so special. It’s the kind of musical that reminds me why I fell in love with theatre, and I know it will do the same for our audiences.”

Audiences will remember this heartwarming tale as it follows WWII veterans Bob Wallace and Phil Davis, who join forces with a dazzling sister act to put on a holiday spectacular at Columbia Inn, a picturesque, financially strained Vermont inn, owned by their old General Waverly. The story unfolds with irresistible charm, full of camaraderie, flirtatious romance, and a sparkling flurry of festive cheer. The staging includes a treasure trove of Berlin’s greatest hits, including “Sisters,” “Snow,” “Count Your Blessings Instead of Sheep,” “The Best Things Happen While You’re Dancing,” and of course, the unforgettable title number, “White Christmas”.

Both the 1954 film and stage production follow two ex-soldiers helping their general, but the stage version updates the story, characters, structure, and score for live theater.  The stage version adds more dramatic tension around the inn’s financial troubles and gives supporting characters (especially the Haynes sisters and Martha Watson, the General’s housekeeper) larger, more active roles. Phil and Judy’s relationship has additional comedic setups and dance features. The stage musical incorporates many classic Irving Berlin songs that were not in the movie, including “I Love a Piano”, “Falling Out of Love Can Be Fun”, “How Deep Is the Ocean?”, “Blue Skies” and “Let Yourself Go”.

The cast adds quality, dimension, and noticeable proficiency to this production. Fresh off a decade on Broadway in The Book of Mormon, Ben Laxton stars as Bob Wallace, returning to the Turner Theater after his standout performance as Bob Gaudio in Jersey Boys. Jeremy Benton, who has portrayed Phil Davis on seven national tours, makes his Studio Tenn debut and serves as co-choreographer. Lisa Karlin (Betty) and Elizabeth McGuire (Judy) also debut with the company, bringing extensive Broadway and touring experience, including numerous collaborations with Original Choreographer Randy Skinner. McGuire and Benton team up as Co-Choreographers, recreating Skinner’s original choreography, ensuring the production reflects the authenticity and precision of the Broadway revival. With a cast of this caliber and choreography granted directly from Broadway royalty, Studio Tenn once again proves why it remains one of the region’s most respected professional theatre companies. Their commitment to delivering Broadway-quality work while nurturing the next generation of artists continues to set a high bar for Middle Tennessee’s theatrical landscape.

Ben Laxton anchors the production with a wonderfully grounded and charismatic Bob Wallace. His voice carries a velvety warmth perfectly suited to Berlin’s melodies, and his phrasing displays a classic crooner’s confidence. Laxton’s understated humor, thoughtful expressions, and steady vocal power make Bob’s journey feel authentic and heartfelt. Whether offering a quiet moment of reflection or leading the company in a rousing ensemble number, he brings a calm authority that centers the entire show.

As Phil Davis, Jeremy Benton is pure razzle-dazzle charm. His dancing is impeccably precise yet joyfully effortless, and he glides across the stage with the kind of showman energy audiences crave in a holiday musical. Benton’s comedic timing is sharp, his grin infectious, and his chemistry with the ensemble, not to mention his romantic foil, adds humor to every scene. His tap features are show-stealing displays of athleticism, musicality, and old-school Broadway polish.

Lisa Karlin brings a graceful, luminous presence to Betty Haynes. Her voice is smooth and expressive, with a classic musical-theatre soprano that blooms beautifully in the quieter, more emotional numbers. Carlin’s subtle acting choices, a lifted eyebrow, a soft smile, and a moment of hesitation give Betty depth and vulnerability. She captures both the character’s independence and her softening heart with poise and intelligence.

Elizabeth Maguire shines vibrantly as Judy Haynes, offering a delightful mix of sweetness, spark, and technical finesse. Her vocals are bright and agile, perfectly suited to the show’s more playful songs, and she matches Benton step-for-step in the dance-heavy sequences. Maguire’s energy radiates across the stage, giving Judy both youthful effervescence and polished professionalism.

Curt Denham brings gravitas and warmth to General Waverly. His presence commands attention, yet he imbues the character with a tenderness that honors the nostalgic heart of the story. Denham delivers the role with dignity and sincerity, making the general’s emotional arc one of the evening’s most touching threads.

Megan Murphy Chambers, as Martha, is nothing short of a revelation. She steals the show with powerhouse vocals, razor-sharp comedic timing, and a magnetic stage presence that lights up every scene she enters. Chambers navigates Martha’s blend of sass, wisdom, and theatrical flair with masterful precision, earning well-deserved laughter, applause, and admiration throughout the night. Martha becomes a major comedic and musical presence. She gets her own numbers (“Let Me Sing and I’m Happy”), which were not in the movie version.

Sweet Frankie Lou Lauderdale charms completely as Susan Waverly. With natural confidence, impeccable timing, and a contagious enthusiasm, she brings a youthful sparkle to the production. Lauderdale’s scenes are adorable without ever tipping into precociousness, a testament to both her talent and the direction guiding her. Brava, young lady.

Richard Daniel’s Ezekiel is a crowd-pleasing gem. With lines built almost entirely on variations of “Yep,” Daniel uses stillness, timing, and physical comedy to craft one of the show’s most memorable supporting characters. His slow-motion strolls, deadpan reactions, and understated grin are irresistible. As the story progresses, he “comes to life” in a way reminiscent of Frosty the Snowman, quietly, unexpectedly, and completely delightfully.

Douglas Waterbury–Tieman is a whirlwind of comic brilliance as Mike McNulty/Ralph Sheldrake, bringing an infectious dose of energy to every moment he’s onstage. His manic dashes across the theater, frantically tracking down performers, wrangling last-minute set adjustments, and desperately trying to keep the “show within the show” from flying off the rails are pure gold. He skitters across the stage like a man surviving on equal parts caffeine and sheer willpower and nails the art of controlled chaos - breathless, exasperated, yet determined.

The ensemble dancers deserve their own ovation. Their work is crisp, unified, and brimming with joy. Every smile feels genuine, every line clean, every formation executed with Broadway-level precision. They tap, glide, and leap with an infectious energy that fills the stage and elevates each musical number. Their commitment to character through movement, and not just steps, truly brings the production to life.

Technically, White Christmas is built to dazzle with picture-postcard sets, elegant costumes, and lush orchestrations that evoke the golden age of Hollywood. Scenic designer Andrew Cohen delivers a visual feast, crafting a world that feels both cinematic and intimately theatrical. His set transitions glide from backstage performance halls and the inn’s lobby to the snowy serenity of Vermont with elegance and personality. Cohen’s detailed backdrops, rich textures, and cleverly engineered moving pieces create a storybook charm that embraces the nostalgia of mid-century holiday musicals while giving the theatrical production its own fresh identity.

Costume Designer Devon Renee Spencer adds an irresistible layer of magic with her vibrant, festive wardrobe choices. Her costumes burst with color, period accuracy, and holiday sparkle from luxurious winter sweaters and sharp military-tailored suits to twirling skirts in holiday hues that catch the stage lights effortlessly. Spencer’s attention to silhouette and movement highlights both character and choreography, creating costumes that don’t just dress the performers, but elevate every musical number. Her insignia is the epitome of storytelling through costume design.

Lighting designer Darren Levin bathes each scene in atmospheric brilliance, shaping mood and storytelling with painterly precision. Crisp, icy blues evoke Vermont’s wintry charm, while golden ambers wrap the production numbers in a glow worthy of a Radio City spectacle. Levin’s lighting shifts are seamless and emotionally intelligent, giving each moment from intimate duets to grand ensemble finales its own theatrical pulse.

Stage Manager John W. Calder III deserves high praise for the production’s flawless pacing and fluidity. The Stage Manager is the production’s anchor, coordinating every detail behind the scenes. They cue actors, manage scene and set changes, track timing, and communicate between cast, crew, and designers, keeping the performance seamless while allowing the performers to focus entirely on their roles. In a show with this many scenic shifts, costume changes, and musical cues, stage management becomes the invisible engine that determines whether the machine runs smoothly, and Calder ensures it does. The transitions are clean, the timing razor-sharp, and the overall flow so natural.

With a musical this full of numbers, harmonies, and tap-heavy showstoppers, audio designer Danny Northrop’s contribution is indispensable. His sound design balances crisp vocals with the lush orchestration, allowing the singers to shine without ever sacrificing clarity. Northrop’s experienced hand keeps the mix warm, full, and rich, exactly what a vintage holiday musical demands.

Music Director Scott Brons leads the live orchestra with energy, nuance, and deep respect for Irving Berlin’s iconic score. Conducting for a dance-driven musical is no small feat, yet Bruns guides his musicians through sweeping ballads, brassy show tunes, and rhythmically intricate tap breaks with total command. The live music adds grandeur and immediacy to the production, the kind of electricity only an orchestra can provide. Fun fact – you can see the master at work during the production, conducting on screen at the back of the theater.

And at the helm is Director/Artistic Director Patrick Cassidy, whose vision knits the entire production together. Cassidy’s staging is confident, dynamic, and full of heart. He gives his cast room to shine in both comedic and emotional moments, guiding performances that land with charisma, precision, and genuine warmth. His command of classic musical-theatre vocabulary, from tableau to counterpoint staging, ensures that each number builds with theatrical intention and payoff. Under his direction, every performer is perfectly placed, perfectly motivated, and perfectly showcased.

Treat yourself to this heartwarming, high-energy holiday spectacular that captures everything audiences adore about the season. Whether you’re craving nostalgia, show-stopping dance numbers, or a little theatrical snow, Studio Tenn’s White Christmas is a must-see event.

Also, take the time to read the Meet the Artists section in the program. This is the caliber of artistry that Studio Tenn brings to our local stage, seamlessly uniting Tennessee’s finest talent with the polish and precision of Broadway’s most accomplished performers.

For more information on Studio Tenn, White Christmas, and other upcoming productions, visit studiotenn.com.

Merry Christmas and Happy New Year from BroadwayWorld Nashville!

Carolan Trbovich/Editor

Nashville Awards - Live Stats

Best Musical - Top 3

1. HAIRSPRAY (Cumberland County Playhouse)

9.1% of votes

2. THE LITTLE MERMAID (Springhouse Theatre)

8.6% of votes

3. 9 TO 5 THE MUSICAL (Cumberland County Playhouse)

7.2% of votes

Vote Now!