I remember driving down to Mesa State years ago to see our son Chris in his first college production, Wind in the Willows. Looking back, I remember the prospect of seeing him perform outside the comfortable little world of Green Mountain High School, or Elitch Garden's Stax of Wax was a little scary. We were pretty sure Chris was good, but we were probably prejudiced. But seeing him on Mesa's main stage that day still remains one of the great moments of my life. He was better than I thought he was! Sweet vindication.
I had that same feeling driving to The Lone Tree Arts Center to see Starkey Production's White Christmas. Chris had been in Littleton Town Hall's production of the show last year and he thought this would provide a good vehicle to use for branching out into play production. Judging by the packed house, I would say he was right.
First of all, let's talk about the facility. While not as huge or as grand as its northern cousin, The Arvada Center, Lone Tree's 500 seat main stage, art filled atrium, and glass filled peaked facade has provided an impressive launch for an important regional arts center. My only complaint about the place is that there isn't a great restaurant next door. A pizza joint, yes, and all those mallish little outposts, but no Mizuna or TAG or Park Burger in sight. An enterprising restaurateur should take note.
Back to the show. White Christmas, like most Irving Berlin shows, is nothing more than a review of Berlin's music wrapped around a hammered together plot. But who cares. The music, for the most part ("What Can You Do With A General" might be an exception), is terrific. Add to this a strong cast and Wendy Duncan's choreography and you end up with a memorable night at the theater.
Be forewarned, the first scene starts the evening off slowly when the curtain opens on a huge stage with newsreel footage of WWII on an overhead screen. Below we find a small grouping of soldiers huddled around on Christmas Eve as Bob Wallace and Phil Davis regale them with Christmas standards. Quick freeze and cut to postwar Manhattan as Wallace and Davis star on Sullivan. From there we somehow get to a train traveling to Vermont and the fun part of the show begins. To this point all the musical numbers are terrific, but "Snow" stops the show. (I've always wanted to say "stops the show.")
To make a long story short, our heroes fall in love, save their old general from financial ruin, and put on a show in a barn. And at the end of the show there is even a bit of muted flag wagging. This is everything a Christmas audience could want and it is delivered with pace and class.
Even though some of the earlier expository dialogue is lost to the flashy musical numbers, things begin to smooth out by the time the scene moves to Vermont. Deborah Persoff as Martha Watson, the Inn's concierge, is one performer who is powerful enough to fill the big stage and nearly walks off with the show. I liked her here better than last year in the same role at Town Hall. That stage was just too small for her.
Randy St. Pierre and Chris as Wallace and Davis sound terrific together. St. Pierre wisely gets out of the way on dance numbers and Chris tones down his big voice to blend perfectly with all of his partners on stage. Chris' two dance numbers, "The Best Things Happen When You're Dancing," and "I Love a Piano," are better than the same numbers last year at Town Hall. First of all, there is room to move. Second, all the girls in the chorus are dancers and the guys at least move well enough to fake it from upstage. But I think the best thing about the choreography is that it isn't overly ambitious. It doesn't ask the chorus to do more than it can, and yet it is powerful and full of energy. And of course there is Chris up front in each number leading the way.
Brianna Firestone and Leslie Frankel are wonderful as the Haynes sisters. I'm especially glad that Leslie is thin enough for Chris to lift in the dance numbers.
Most especially, Paul Page takes the sappy General Waverly part and makes it interesting. I actually found myself tearing up during his last speech, which is especially remarkable because I'm usually looking at my watch as final curtains approach.
High praise for having real musicians. Your five piece combo (Jeremy waling on sax) is jazzy and loud and the transition to recorded music for the production numbers is seamless.
So what is the message here? Postpone all further activities and get tickets for White Christmas at The Lone Tree Arts Center. Last night is December 23.
Vindicated once again.
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