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  Play Details

White Christmas

Marriott Theatre In Lincolnshire
10 Marriott Drive Lincolnshire

One of America’s most beloved silver screen classics is now a brand new stage musical – Irving Berlin’s WHITE CHRISTMAS. Packed with hits like “Blue Skies,” “Count Your Blessings,” “I Love a Piano” and the title song “White Christmas,” your entire family will celebrate this magical time of year with this beautiful new musical.

Thru - Jan 1, 2012



Price: $40-$48

Show Type: Musical

Running Time: 2hrs, 20mins; one intermission

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Marriott Theatre In Lincolnshire Seating Chart


  White Christmas Reviews

Chicago Tribune - Recommended

"...This is no masterpiece of theatrical writing and the early scenes are especially fragmented and choppy. But the romantic, pro-military story has a strong emotional pull. And director Marc Robin comes up with a number of strategies to give the show more weight and heft."
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Chris Jones


Chicago Sun Times - Recommended

"...It’s an old-fashioned musical to be sure, and one that churns up a good deal of 1950s nostalgia. But director-choreographer Marc Robin’s Marriott production is infused with some socko numbers (especially the tap extravaganzas set to “Let Yourself Go” and “I Love a Piano”), and it is enhanced by a slew of memorable character turns and zestily delivered lines. The solid musical direction is the work of Michael Mahler."
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Hedy Weiss


Chicago Reader - Somewhat Recommended

"...A solid sampling of Berlin's better merchandise is represented in this stage musical based on the famous 1954 movie starring Bing Crosby, Danny Kaye, Rosemary Clooney, and Vera-Ellen. The book by David Ives and Paul Blake is perfunctory compared to the source. There's a lot missing, and, in Marc Robin's staging, the primary relationships have less to do with chemistry than with hitting the required narrative points. You've just got to accept it on faith, for instance, that Rod Thomas's character belongs with the one played by Stephanie Benetti. The best performances are given by supporting players—especially Alene Robertson, channeling Selma Diamond a gruff old vaudevillian."
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Tony Adler


NewCity Chicago - Highly Recommended

"... Director and choreographer Marc Robin has taken great care to ensure that even the smallest role in the show is well taken care of and that unlike the faux fifties manner of the national touring production that Broadway In Chicago brought to town, these characterizations are three-dimensional. Although the singing ranges from serviceable to very good—and in the case of Arlene Robertson, show-stopping—it is the dance element that most shines here, particularly the duets of Tammy Mader and Andy Lupp."
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Dennis Polkow


Centerstage - Highly Recommended

"... Director/choreographer Marc Robin works his magic once again with his brilliantly talented cast of triple threats. Too often credit isn’t given to the way Robin not only choreographs the dickens out of a dance number but also cleverly stages his productions."

Colin Douglas


Time Out Chicago - Recommended

"... Director and choreographer Marc Robin keeps the comedy broad, the score brassy and the dance numbers glitzy. His aim is stylistically in line with the era’s Technicolor grandeur during moments of spectacle, but the scene work and added subplots become exhausting when translated to the stage. After a couple of hours, good-natured smiles turn into tired cheeks."
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Dan Jakes


Chicago Theater Beat - Highly Recommended

"... A Chicago powerhouse over several decades, consummate pro Alene Robertson brings brassy moxie to “Let Me Sing and I’m Happy” (the credo of her career). She incarnates the hard-boiled, pizzazz-packed inn manager, combining Thelma Ritter, Bea Arthur and Alice Ghostley as she peps up every scene with deadpan wisecracks. Another local veteran, David Lively is lovably crusty and contagiously gruff as General Waverley (even though the plot goes haywire near the end as he returns to the Army, then reenters retirement for reasons that aren’t worth a second thought). Madison Gloria Olszewski (alternating with Kate Wild) is a perky moppet who was born to play Annie as well as the general’s Shirley Temple-cute granddaughter."

Lawrence Bommer


ChicagoCritic - Highly Recommended

"... This is a sweet, feel-good musical thatis as much an Irving Berlin musical as a holiday show. It is family friendly and a toe-tapping delight. Once you see it, it’ll make you enjoy the eventual White Christmas to come."
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Tom Williams


Chicago Stage Standard - Recommended

"...Who needs Fred Astaire and Ginger Rogers when we have Andrew Lupp and Tammy Mader? These two Chicago superstars glide so effortlessly through their demanding steps they make it look like second nature. And their perky personalities easily light up the stage every time they are present. By comparison, Rod Thomas and Stephanie Binetti seem a little colorless, although their voices are a treat to the ear. It is always a delight having veteran powerhouse Alene Robertson center stage, and David Lively, Michael Aaron Lindner and young Madison Gloria Olszewski each shine in their supporting roles. But it is the dance numbers that traditionally make Marriott productions something special, and "White Christmas" is no exception."

Joe Stead


Around The Town Chicago - Highly Recommended

"... Songs such as “Happy Holiday”,”Count Your Blessing instead of Sheep”, “How Deep is The Ocean”, “Blue Skies”,”Sisters” and of course “White Christmas” and yes, even more! No matter how your day went, once you enter this magical theater with a clever design by Thomas M. Ryan, great costumes by Nancy Missimi ( some of which we have seen in other productions- some even worn by the same actors playing in those other productions), lighting by Diane Ferry Willimas and props by Sally Weiss. Most of these names are familiar to Marriott subscribers and regulars as they have been making the productions glitter for many years."
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Alan Bresloff


   This show has been Jeff Recommended*

*The designation of "Jeff Recommended" is given to a production when at least ONE ELEMENT of the show was deemed outstanding by the opening night judges of The Joseph Jefferson Awards Committee. The entire production is then eligible for nomination for awards at the end of the season.
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