As a busy New York-based song-and-dance man, Jeremy Benton is always on the lookout for his next project. But as Studio Tenn prepares to open Irving Berlin’s White Christmas this week, he’s also thinking back to his childhood in Robertson County, Tennessee, where he grew up watching classic Hollywood movie musicals with his grandmother.
“I still remember watching all those wonderful old movies on my grandmother’s television — one of those big heavy consoles with the wood frame,” says Benton, who’s taking on the role of Phil Davis, and also serving as co-choreographer, remounting Randy Skinner’s original choreography from the Broadway production.
“I remember her sitting me down for one of those classic movie marathons when I was maybe 5 or 6. I think it was Gene Kelly and Fred Astaire day. Singin’ in the Rain was on, and it just felt like magic — I was hooked. I loved the music, and I basically thought I’d invented tap-dancing out in my yard. But it was really those old movies — and White Christmas was certainly one of them — that gave me a window into the magical world of musical theater.”
A proud graduate of Western Kentucky University, Benton would eventually make his Broadway debut with 42nd Street, performing opposite the legendary Shirley Jones and Studio Tenn’s own Patrick Cassidy.
“That’s how I first met Patrick,” Benton says. “I was understudying the role of Billy, when our friend David Elder hurt his ankle mid-show. So there I was — the new kid, fresh to the company — going on for Act II. Patrick’s mom [Shirley Jones] was starring as Dorothy Brock at the time, and Patrick was playing Julian Marsh. I think I’d been in the building for about a week, but everyone was incredible and so encouraging.”
42nd Street also served as Benton’s introduction to Skinner, a Tony-nominated choreographer and director who shares Benton’s passion for Golden Age musicals.
“Randy has been my mentor ever since I first went in for that replacement audition for 42nd Street. Our styles really jelled from the beginning, and I’ve been fortunate to work closely with him over the years."
Benton says he’s thrilled to be making his Studio Tenn debut in the role of Phil, which he portrayed on seven national tours from 2013-19. He never seems to tire of the heartwarming show, which is based on the 1954 film starring Bing Crosby and Danny Kaye. And though the stage musical differs somewhat from the film, audiences can still count on familiar Irving Berlin standards, including “Blue Skies,” “I Love a Piano,” “How Deep Is the Ocean?” and the beloved title song, “White Christmas.”
“It’s a gorgeous show,” Benton says. “‘I Love a Piano’ is an amazing tap number — one of my favorite things Randy has ever choreographed. And there’s no better song for a song-and-dance man than ‘The Best Things Happen While You’re Dancing.’ I look forward to performing that one every night.”
Benton says he also looks forward to sharing the stage with Ben Laxton (who just wrapped a 10-year Broadway run in The Book of Mormon, and recently starred as Bob Gaudio in Studio Tenn’s Jersey Boys), along with Lisa Karlin (1776, The Addams Family) and Elizabeth McGuire, who’s playing Phil’s love interest, Judy, and co-choreographing the production with Benton.
“It’s wonderful to be working with Elizabeth again,” he says. “She was my Peggy Sawyer for one of the 42nd Streets I did. She played Nanette in the No, No, Nanette I just did. And she understudied Judy in White Christmas last year at The Gateway with me and Randy, so we make a great pair.”
Like Benton, McGuire grew up watching films like Singin’ in the Rain and An American in Paris, connecting not only with the choreography, but also with the storytelling.
“There’s a wonderful sense of optimism and nostalgia with these movies,” she says. “The characters are able to find so much joy in singing a beautiful song or putting on a show together. I think that’s what White Christmas captures so well — characters drawing the sweetness out of life’s sorrows, celebrating all the important things that remain true, even when dealing with hardships.”
A frequent collaborator with both Benton and Skinner, McGuire has performed in multiple regional productions of 42nd Street and White Christmas.
“I’ve had the privilege of working with Randy, along with some of his closest associates, and I’ve learned so much along the way,” she says. “But working with Jeremy is a special treat. He cast me in my first principal role and has always had such trust in me as a performer. What’s so exciting about this production is that we get to work together as a team, which is an amazing honor. He’s been doing this show for such a long time — it’s in his bones. So I feel very lucky to be here.
“It’s funny because I started out dancing when I was about 3 years old, and that was really my focus until I started high school, and met my mentors — Lyndy and Jeromy Smith at the Lexington Theatre Company in Kentucky. Every year at the studio, we would learn the opening number from White Christmas. It was such fun, and that’s honestly what made me realize that I wanted to do musical theater. I started taking voice lessons and acting classes, and eventually went to Samford University for musical theater. But it was Randy Skinner’s White Christmas choreography that tipped the balance for me. So to be here at Studio Tenn, working on this show, with this choreography and dancing with Jeremy — what a perfect way to spend the holidays.”
Irving Berlin’s White Christmas runs Dec. 4-21 at the Turner Theater, at the Factory at Franklin, 230 Franklin Road. To learn more, visit here.