Page 24 THE VILLADOM TIMES I, II & III • November 30, 2011 Paper Mill (continued from Entertainment page) make his character more accessible. He looks focused on his stage business and not enough on developing his character. His line readings are very quick, never allowing a bit of time for thoughts to formulate. When he speaks, his lines are clearly the written words of a script rather than thoughts from his heart. Paice’s Betty comes off awfully stiff. Part of this has to do with the bristly relationship she has initially with Bob, but when she comes to see Bob as more than mere songand-dance man, her manner never really softens and there is always a solid wall around her emotions. Patterson is a delight as Judy, the younger and less guarded sister, a consummate performer who loves show biz and shines when the spotlight is on her. She benefits from having the least dialogue. Singing or dancing, she dazzles. In the movie, there was a woman who served as the general’s right-hand assistant: desk clerk, confidante, and wisecracker. That role has been expanded. Martha Watson (Lorna Luft) is an Ethel Merman-like powerhouse, unafraid to say -- or belt out in song -- what’s on her mind. Her character has a background in show business and proves she still has what it takes in a rousing rendition of “Let Me Sing and I’m Happy,” one of the songs interpolated from Berlin’s extensive catalogue. Luft has obviously inherited talents from her mom, Judy Garland, as she can really sell a number and connect with her audience. She has on-themoney timing, and serves as the show’s primary dispenser of comedy. The song “Snow” is cleverly staged in a train’s club car en route to Vermont. Starting with the four principals, the song eventually draws in a sleeping man, assorted skiers, and club car loungers. The result reminded me of the classic scene in “A Night at the Opera” when the Marx Brothers and what seems like 50 people preposterously crowd into a tiny shipboard stateroom. The clever staging of the “Snow” number and the enthusiasm of the actors really sell it. It is a highlight of the show, and was an audience favorite on opening night. Other song adaptations work less successfully. One of the most beautiful songs from the movie is “Count Your Blessings,” a key number in which Bob and Betty begin to fall in love. On stage, the first choruses of the song are sung by Bob as a lullaby to the general’s granddaughter, Susan (Andie Mechanic and Samantha Kelleher alternating in the role), and then finishes as a duet between Betty and Bob. This dilutes the effect of the song and seems cloyingly sentimental rather than romantic. There are sensational production numbers featuring Randy Skinner’s choreography: “Let Yourself Go,” performed by Wallace and Davis with a chorus of dancers backing them; “Blue Skies,” a rousing tap number; “I Love a Piano,” the spectacular second-act opener; and the curtain call, “I’ve Got My Love to Keep Me Warm,” with simulated ice-skating onstage and snow drifting down onto the audience. Other songs in the show include “Sisters,” “Happy Holiday,” “Love and the Weather,” “The Best Things Happen When You’re Dancing,” and “How Deep Is the Ocean.” Director Bruni has made this “Irving Berlin’s White Christmas” a joy for the holiday season. Family entertainment on Broadway can be terribly expensive, but the Paper Mill is a true bargain. The show will run through Dec. 24 and will be performed eight times a week, Wednesday through Sunday. Tickets start at $25 and may be purchased by calling (973) 376-4343, from the Paper Mill Playhouse box office at 22 Brookside Drive in Millburn, or online at www.papermill.org. The website also includes special holiday schedules.