'White Christmas' musical has as much heart and charm as 1950s film

FORT WORTH -- Even if it turns out we don't have a white Christmas this year, we can at least say we enjoyed the White Christmas that came early to Bass Hall on Tuesday night.

This stellar production (whose full title is Irving Berlin's White Christmas) is a throwback, but in all the right ways. A fairly recent adaptation of the 1954 film of that name, this glittering show harks back to an earlier day of the movies and theater. As you watch the lavish production numbers gloriously spill out across the stage before some amazingly colorful backdrops, you feel as if you have time-traveled to Paramount Studios and snuck onto the soundstage where the segment is being filmed.

The show about two old Army buddies trying to save a Vermont inn owned by their former general is not only true to its cinematic roots, its sets and costumes also look great, recalling the stage shows of the 1950s and before.

The most outstanding players in a strong cast are Stefanie Morse as Betty Haynes and Stephen R. Buntrock as Bob Wallace. Morse has a wonderful voice that she can employ with power or subtlety. Buntrock also has fabulous pipes, and he is the best actor in the cast, striking a nice balance between Broadway slickness and theatrical naturalism. They are strong separately and downright dangerous together.

But as good as the singing is, the dancing is even better. Shannon M. O'Bryan as Judy Haynes and David Elder as Phil Davis -- the other couple in the story -- are especially light on their feet, and they have as much chemistry as Morse and Buntrock. Yet the entire cast keeps pace with them quite well in the gorgeously elaborate hoofing scenes choreographed by Randy Skinner.

One of the real showstoppers was I Love a Piano, a tap extravaganza that was impressive even during the parts when the performers danced while seated.

All this great singing and dancing was done on a continuous wave of rich, full-bodied music flowing robustly from the pit.

It would be an oversight not to acknowledge the fine work of director Norb Joerder. When a show like this works this well on every level, the kudos has to start at the top.

You could fault it for being corny and predictable -- just as the Bing Crosby-Danny Kaye movie was.

But this touring show, presented by Performing Arts Fort Worth, is delivered with so much heart and creativity that it overcomes any flaws in the material. And the guy who wrote the music is pretty good, too.

Whatever the weather outside, this highly polished production could give you a little chill -- in the best possible, Christmas-y kind of way.

One word of warning: Tuesday's performance drew a crowd of about 1,700 -- a high total for a weeknight. That suggests the show might be a hot ticket for its remaining performances, so plan accordingly.