White Christmas is less successful as a stage performance.

Crossing from one medium to another works best with first-class material. For example, the novella Gigi by Collette became a delightful movie at the hands of Alan Jay Lerner and Frederick Loewe in 1958. Despite the high quality of the movie, the stage versions, musical or play, were less successful.

When the original is not top notch, the result is even less likely to be entirely successful. The 1954 Paramount movie, White Christmas, had very mixed reviews (to put it mildly). Therefore, when David Ives and Paul Blake delivered a stage version, they were faced with numerous problems.

One of the greatest challenges is the number of movie-style short sequences and the multitude of set changes required. In the Orpheus Musical Theatre Society production, set designer Tony Walker has done his best to keep action fluid by creating a number of mobile mini sets, but performers still lose momentum in the gaps and some of the pieces, most notably the one depicting the carriage of a train, over emphasize director Judy Follett-Johns’ apparent intent of suggesting crowding.

The best news about this tale of love that hits a few bumps before running smoothly — apart from some of Irving Berlin’s songs — is the terrific choreography by Linda Fournier-Brown and apprentice choreographer France Bastien. The spirited dance ensemble, captained by Bryan Jesmer, delivers a series of high-energy numbers — highlighted by the I Love a Piano tap number, fronted by principals Judy (Erika Séguin) and Phil (the lithe Darren Bird).

On the dramatic and musical front, the three potential couples are well paired visually and vocally. Jeremy Mesiano-Crookston as Bob has a particularly appealing singing voice and Barb Seabright-Moore — always a strong stage presence — delivers a punchy Martha, the former Broadway star now working the desk etc. at a country inn. Predictably, the audience roars its approval of her show-stopping Let Me Sing and I’m Happy number. In reprising the song, Susan , (a strong performance from 10-year-old Isabella Hearne) the granddaughter of General Waverly, the now-impoverished owner of the inn, receives similar recognition.

As Waverley, Gary Moore needs greater authority if we are to believe that he was once an inspirational military leader. The presentation of that inspiration in the form of the soldiers marching to the stage through the auditorium is one of Follett-Johns’ best directorial touches. Unfortunately, some other directorial choices are poor, the most obvious being a horrendous depiction of a gay stage manager, presented in the most offensive and stereotypical way imaginable.

Clearly selected because of the title song and the connection with the season, this production of White Christmas is not an example of Orpheus at its best although it still has moments and performances to remember.

White Christmas continues at Centrepointe Theatre to November 20, 2011

Ottawa, Iris Winston

November 14, 2011

White Christmas

at Centrepoint Theatre

A production of   Orpheus Musical Theatre

Book by David Ives and Paul Blake

Music and lyrics by Irving Berlin, based on the Paramount Pictures 1954 film

Director: Judy Follett-Johns 

Musical Director: Murray Doggett 

Choreographer: Linda Fournier-Brown 

Apprentice Choreographer: France Bastien 

Set: Tony Walker 

Costumes: Ann Ricard 

Lighting: John Solman 

Sound: John Cybanski

Cast:

Betty Haynes…………………………….LianeWray 

Judy Haynes……………………………..Erika Seguin 

Bob Wallace……………………………..Jeremy Mesiano-Crookston 

Phil Davis………………………………..Darren Bird 

Martha Watson…………………………..Barb Seabright Moore 

General Waverly……….………………..Gary Moore 

Susan Waverly…………………………..Isabella Hearne 

Ralph Sheldrake…………………………Michael Kavcic 

Rita………………………………………Tanya Chang 

Rhoda…………………………………….Alexandra Isenor 

Ezekiel……………………………………Ken Tucker 

Mike………………………………………Spencer Donnelly 

Jimmy…………………………………….Doug Thicke 

Tessie……………………………………..Sascha Wiessmeyer

Chorus:

Susanna Atkinson, Sean Brennan, Cheryl Dubois, Bryan Jesmer, John Litster, Jim Morrison, Brendan Ryan, Beverley Soifer

Dance ensemble: Dance captain: Bryan Jesmer; Mary-Bernadette Belanger, Tanya Chang, Jesse Gervais, Alexandra Isenor, Jasmine Lee, Sharye Marcus, Bret Newton, Emilie O’Brien, Alyssa Radulescu, David Rowan, Lucille Warren, Carmella Wilson