White Christmas at the Paper Mill Playhouse
Before the days of “alternative” musicals and their ilk, the geniuses at Tin Pan Alley turned out one hit after another on their lunch breaks, filling the world with what could only be considered brilliant musicals. There was no such thing as a flop. It was either good, or it never got written.
This was in the days of Cole Porter, Rogers and Hammerstein, and, most relevant in this case, Irving Berlin, whose classics such as “Annie Get Your Gun” have lodged him in our memories as one of the greatest composers and lyricists ever born. Now, at the Paper Mill Playhouse in Millburn through December 24th, one of his hits is being brought back to the public eye. “White Christmas,” platform for memorable standards such as the title song and Berlin’s ode to the ivories, “I Love a Piano” (which opens the second act with unbelievable gusto), is a masterwork in any theater or on any screen. The Paper Mill did it fair and perfect justice.
“White Christmas” is a timeless paradigm of the Christmas story—the story enveloped in warmth and gratitude towards all human beings, where lovers whisper to one another beneath the mistletoe and things all turn out all right because it’s Christmas, and it’s snowing. Berlin set the bar for such musicals and even such stories, with his tale of retired soldiers, now song-and-dance men, who put on a show to save an inn overseen by their former general. Though less powerful without the display of pure talent that came from Danny Kaye and Bing Crosby in the movie version, the songs remain beautiful and the lyrics achingly perfect. Before the time of “Sunset Boulevard” and “Priscilla, Queen of the Desert,” through this we can see that there were once real musicals where the sole purpose was to showcase human talent. And that’s what White Christmas is, at the Paper Mill or anywhere else, a true barrage of talent. The storyline really doesn’t matter. What does is following the individual elements through to their conclusion. You care less about unrequited love than you do about each lyric and its meaning, and its cooperation with the next lyric.
But I make it sound deep and intense. In fact, White Christmas is light, easy entertainment, quick on its feet and loud in its devotion. The Paper Mill cares more than many other theaters because it doesn’t really have anything to lose. It’s a large, popular theater that showcases the best New Jersey can offer, and it’s almost Broadway, but it’s not. So it doesn’t have angry producers looming over it, and it can do whatever it likes, and what it likes is usually what the public will like. That’s admirable.
But there are more stars in this show than just the theater it’s debuting in. Lorna Luft, half-sister to Liza Minnelli and daughter to Judy Garland, appears as Martha “Megaphone” Watson, a former Broadway actress who claims Ethel Merman once told her, “You are loud!” She seems much happier and gentler than her sister, whose intimidating stage presence and literal megaphone voice can sometimes frighten an audience. Luft plays her role laudably and with a carefree feel. White Christmas is comfortable for her and us.
So as you settle in this holiday season, why not choose White Christmas to keep you warm? It’s just as large, encompassing, and cozy as your draped blanket, and just as delicious and pleasant as your hot cocoa. On Christmas Eve this year, there’s no better journey than back to 1954 to enjoy the beauty and the pure sagacity behind this show. It’ll knock your Yuletide stockings off.
No comments:
Post a Comment