Like a warm winter blanket with a side order of song and dance, Riverside Center for the Performing Arts’ impeccable production of Irving Berlin’s White Christmas is just what the doctor ordered for this jolly season.
Packed with talent, designed with a clean and festive look, this production establishes White Christmas as a perennial favorite, right up there on the proverbial marquee with A Christmas Carol and The Nutcracker. Why not “let yourself go, relax” — to borrow from one of Berlin’s catchy standards — and let the cast of White Christmas carry you away to a cozy inn up in New England.
The story of two army buddies who meet up with two sisters and create showbiz synergy in the wilds of Vermont was first made famous by the 1954 film starring Bing Crosby, Danny Thomas, and Rosemary Clooney. Adapted for the stage in the 2000s, the show now has a life of its own on stages everywhere. Riverside’s production is the one to beat.
Leading men Kevin Cleary and Jordan Thomas Burnett take the stage as Bob Wallace, an army officer, and his enlisted sidekick Phil Davis. Cleary, in the Crosby role, is decent, confident, and possesses a strong, smooth baritone voice. He gets to deliver the Berlin ballads and other tunes memorably, including the title tune. He is the older and wiser of the duo. As the nimble and younger Davis, Burnett (taking on the Danny Kaye role) is mercurial and energetic, leaning into the dancing, but he is also a winning singer. His prodigious tap dancing skills are highlighted in “I Love a Piano,” the second act opener. Together as Wallace and Davis, the actors are effortlessly charming.
As the female counterparts — and sometimes foils — to the leading men, Ally Dods and Sarah Mae Andersen have the looks, the voices, and the moves of any classic Hollywood musical starlet. Dods, as Betty Haynes, is grounded and mature, and has a velvety smooth voice that is used to great advantage in “Love, You Didn’t Do Right by Me.” (Girl singer Clooney was the film’s Betty.) As the younger sister Judy, Andersen is the more outgoing sister, and she falls for Davis faster than her sister falls for Wallace. Andersen’s light and breezy vocals are also appealing, whether she’s dueting with Dods on the charm song “Sisters” or the Fred and Ginger-esque “The Best Things Happen While You’re Dancing” with Burnett.
The leads are more than ably supported by some seasoned players from the Riverside Center’s previous productions. Robert Beidermann takes the role of the boys’ commanding officer and would-be innkeeper, General Waverly, a mostly nonsinging turn, but one of quietly comedic moments and a sage presence. Taking on the brassy and fun role of the innkeeper’s right-hand gal, Kathy Halenda makes the most of Martha Watson’s witty dialogue and musical moments, highlighted by “Let Me Sing and I’m Happy” and the enchanting trio with the Haynes sisters, “Falling Out of Love Can Be Fun.” If Beidermann and Halenda are onstage, the audience knows it will be in good hands.
White Christmas not only has veteran talent to spare, but some newer talent is also front and center. Recently, one of the seven Von Trapp children when Riverside produced The Sound of Music, Vera Barfield is absolutely endearing as Susan, General Waverly’s precocious granddaughter. Holding her own with the leads and character actors, Barfield lights up the stage with her every scene and even gets a star turn when Susan reprises “Let Me Sing and I’m Happy.” This little lady has a bright future onstage or wherever she chooses to perform.
All told, 17 Berlin songs are packed into this old-fashioned, feel-good musical comedy, including “Snow,” “Count Your Blessings Instead of Sheep,” “How Deep Is the Ocean” — bangers from start to finish. And the cast is supported from the instrumental department by the essential and valuable music director and keyboard player Carson Eubanks and his small but mighty pit ensemble.
The look of White Christmas is also very appealing: clean, fresh, a little bit retro, with a mid-century flair, and minimal but functional scenic design by Frank Foster. Michael Jarett’s lighting shows off the performers and adds panache to the big numbers. Stephanie Wood, another Riverside veteran, worked with director Daniel Pippert to provide choreography that showcases the dexterous skills of the cast and allows the Berlin tunes not only to sing but to soar.
“When I’m worried and I can’t sleep, I count my blessings instead of sheep,” goes the opening lyric of one of the signature Berlin tunes. And when you’re worried about holiday hustle and bustle, why not count Irving Berlin’s White Christmas as one of your blessings and catch this don’t-miss nostalgic trip to snowy Vermont.
Running Time: Two hours and 30 minutes with a 20-minute intermission.
Irving Berlin’s White Christmas the Musical plays through December 28, 2025, at Riverside Center for the Performing Arts, 95 Riverside Parkway, Fredericksburg, VA. Tickets ($65–$82) are available online or through the box office 540-370-4300, open from 10 am to 6 pm, Mon.-Wed.; 10 am to 7:30 pm, Thu.-Fri; 12 pm to 7:30 pm, Sat.; 12 pm to 3 pm, Sun. Discounted senior & group rates are available (for details, click here.)
Evening performances start at 7:30pm with dinner service beginning at 5:30pm on Thursday, Friday, and Saturday. Matinee performances start at 1:30pm with meal service beginning at 11:30am on Wednesday and 3:00pm on Sunday with dinner service beginning at 1:00pm.
Adult Dinner & Show – $82 (plus applicable taxes)
Seniors (65+) Dinner & Show – $77 (plus applicable taxes)
Children (3-17) Dinner & Show – $70 (plus applicable taxes)
Adult Show Only – $65
Seniors (65+) Show Only – $60
Children (3-17) Show Only – $55
There will be a $5.00 online processing fee added per ticket.
Cast, creative, and crew credits are in the online program here. The menu is here.
