White Christmas

Those craving a little Christmas spirit mixed in with their Halloween festivities might want to rent Tim Burton's gruesomely sardonic "The Nightmare Before Christmas." For more-traditional early-yuletide fare, opt for this effervescent stage adaptation of the Bing Crosby–Danny Kaye film favorite. Director-choreographer Rob Barron's perfectly cast and crisply staged production is a humdinger—a buoyantly entertaining guilty-pleasure confection that needs no apologies.

Touring the nation for a few years before making its Broadway bow last year, this is a fairly faithful stage treatment of the beloved original screen tuner, keeping the splendid Irving Berlin songs used in the film, while adding a few more. David Ives and Paul Blake's book adheres to the screenplay's lighthearted mix of romantic complications and backstage comedy. Set in 1954, the year the film premiered, the story follows the adventures of two World War II vets (Christopher Carothers as Bob Wallace and Dennis Kyle as his sidekick Phil Davis); the sister-act entertainers who capture their respective fancies (Jennifer Mathews as Betty and Layne Baker as Judy); and the efforts of all to stage a holiday show at a Vermont inn. Their mission is to rescue the establishment from bankruptcy, saving the neck of its owner, the ex-G.I.s' wartime general (John Herzog).

Heading the accomplished cast, Carothers offers a winning characterization and singing and dancing moxie to spare. Leading the ensemble in the smashing first-act finale "Blue Skies," crooning the wistful lullaby, "Count Your Blessings Instead of Sleep," and charming his reluctant ladylove in "How Deep Is the Ocean," he's a charismatic presence. Kyle is likable and very funny as his supportive pal. Mathews and Baker have moments to shine, particularly in the duet "Sisters." Among the standouts in supporting roles are Becky Saunders as the assertive inn manager (terrific in the number "Let Me Sing and I'm Happy") and prodigiously talented Mary Desmond as the general's spunky granddaughter.

The handsome stylized sets are uncredited, though Terry Hanrahan is cited for props and set decoration. Donna Ruzika's lighting and Deborah Roberts' costumes further contribute to the glistening visual style. Lee Kreter's music direction and conducting do justice to the ebullient score. Barron's choreography is stylish and vibrant. This unpretentious sugarplum of a show could melt the hearts of the most curmudgeonly Scrooges among us.


Presented by FCLO Music Theatre at Plummer Auditorium, 201 E. Chapman Ave., Fullerton. Oct. 16–Nov. 1. Thu.–Sat., 8 p.m.; Sun., 2 p.m. (Also Sun., 7 p.m., Oct. 25 and Sat., 2 p.m., Oct. 31.) (714) 879-1732. www.fclo.com.