KAYSVILLE — I love attending the Hopebox Theatre because I am always impressed with the quality of their productions, brimming with local talent, artistic excellence, and genuine heart. Their mission—to “turn art into compassion” by rallying each show’s community around a Wall of Hope recipient battling cancer—is one of the most unique and moving traditions in Utah theatre. With their current production of Irving Berlin’s White Christmas, Hopebox once again delivers a beautifully executed show directed by Karllen Johnson radiating charm, nostalgia, and holiday warmth. I attended a performance by the Teal Cast, and from start to final snowfall, I was blown away by the caliber of the performance.
The spirit of community support and love that Hopebox fosters echoes perfectly with the central message of White Christmas—a story about people coming together to lift up someone who has given so much to them. In the musical, Bob Wallace and Phil Davis discover their former commanding officer, General Waverly, is struggling to keep his Vermont inn afloat. Wallace and Davis rally their fellow soldiers and entertainers to support him.
Bob Wallace, played by Dugan Brunker, was warm and provided the steady anchor the story requires. His vocals were strong throughout the show, especially in the more emotionally rich moments, capturing both Bob’s sincerity and his dry comedic timing. Opposite him, Bradley Barker as Phil Davis brought playful charm and impressive dancing. Together, Brunker and Barker created the easy camaraderie making Wallace and Davis such an iconic duo. Their rapport felt natural and authentic.
Jessica Brunker as Betty Haynes was a vocal standout with a classic, velvety tone that effortlessly evoked Golden Age Hollywood. The big solo, “Love, You Didn’t Do Right by Me,” was a highlight. Elizabeth Fitzgerald as Judy Haynes balanced her on-stage sister beautifully. Judy’s flirtatious energy and bright vocals contrasted Betty’s grounded nature. When the two sang together in the iconic “Sisters” number, their harmonies blended seamlessly.
As the story’s emotional center, Jason Wadsworth playing General Waverly delivered a performance that was both dignified and tender at the right moments. Waverly’s scenes with granddaughter Susan Waverly (Melody-Ann Swanson) were heartwarming and genuine. Swanson handled her musical moments with confidence and charm beyond her years, earning well-deserved cheers from the audience.
Lisa Shortridge was fantastic as Martha Watson, the inn’s concierge who keeps the whole operation running. Shortridge has powerhouse mezzo vocals and Martha’s musical numbers were delivered with a flair that showed off Shortridge’s remarkable vocal talent. I particularly loved Martha, Betty, and Judy’s song “Falling Out of Love Can Be Fun” as the three women locked in on the intricate harmonies and filled the song with energy.
The supporting cast added delightful texture throughout the show with fantastic singing and dancing. Drew Saddler, as Mike the frantic stage manager, was a standout performance as he rushes around to prepare the show while hyperventilating into a paper bag. White Christmas demands strong, blended harmonies and this ensemble was beautifully balanced even on the most challenging Irving Berlin arrangements. The ensemble also gave a clean dance performance as they executed Canada Johanson’s choreography, which was lively and era-appropriate.
Much of the show’s charm also came from the production team’s attention to detail. Director Karllen Johnson shaped a smooth, heartfelt show with good pacing and clear emotional beats. Morgan Golightly’s scenic design provided an inviting visual backdrop setting the tone for the production with cozy pine trees blanketed in snow painted across the sides of the stage. The utilitarian scenic pieces moved on and off efficiently, allowing for seamless transitions from nightclub to train car to inn to barn and back again.
Paige Wilson’s costume design was a major highlight and essential to capturing the show’s vintage glamour. The green velvet tuxedo jackets worn by Wallace and Davis during “Happy Holiday/Let Yourself Go” were lovely and mirrored beautifully with the iconic red velvet jackets in the finale. The matching women’s classic red gowns with white trim created a picture-perfect holiday tableau in homage to the film. Wilson’s attention to detail really sells the nostalgic Golden Age aesthetic.
From start to finish, White Christmas at the Hopebox Theatre was a delight: festive, heartfelt, funny, nostalgic, and musically rich. But beyond the artistry and entertainment value, what makes a Hopebox production unforgettable is the heart behind it. Watching a story about community, generosity, and rallying around someone in need—while sitting in a theatre that lives that mission every day—adds a profound layer of meaning.
Hopebox Theatre’s Teal Cast of White Christmas delivers everything a holiday musical should: joy, laughter, beautiful music, dazzling costumes, and a message that lingers after the lights fade. It is a wonderful family-friendly production and a beautiful example of what community theatre, at its very best, can accomplish. If you have the chance to see it before it closes, don’t miss it. This production shines and is absolutely worth fitting into a busy holiday schedule because it is a shining beacon of Christmas spirit.
This production is double cast and this review is of the Teal Cast. A review of the Silver Cast is posted at White Christmas is Merry and Bright at Hopebox (silver cast) | Utah Theatre Bloggers. As the two performances are attended by two different reviewers, each review provides a unique perspective and critique on the production’s common elements in addition to reviewing the different casts.
