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Depending on how you look at it, Irving Berlin's White Christmas, a stage musical version of the 1954 Paramount Pictures movie, has either had one of the most extensive out-of-town tryouts in the history of American commercial theater, or it's part of one of the most shrewdly developed theatrical properties ever. "White Christmas" began its life in 2000 as part of the summer season at the famed MUNY in St. Louis. Since then, the musical, which features a book by David Ives and Paul Drake, has not only received major productions in San Francisco, Boston and Los Angeles, which have been replicated for the Broadway incarnation, but it has also been seen in regional productions, such as the one currently playing in Kentucky at the Derby Dinner Playhouse. Clearly, the process of bringing a musical version of a popular movie has changed with "White Christmas:" no longer is the imprimatur of a show having debuted on Broadway necessary, it's all about brand recognition.

Unfortunately, the brand that's found in "White Christmas" doesn't feel all that "merry and bright" – to borrow from Irving Berlin lyrics of the title song. In fact, despite Berlin's always glorious songs, some first-rate orchestrations from Larry Blank and beyond terrific dance arrangements from Bruce Pomahac, and several incredibly appealing performances, "White Christmas" has the decided feel of a snowfall that's been on the ground for a day or two.

Ives and Drake's book more or less charts the central story of the movie. Bob Wallace (Stephen Bogardus) and Phil Davis (Jeffry Denman), a famed song and dance team who first got to know each other while serving during World War II together, find themselves at a Vermont Inn that's run by their former commanding officer, General Henry "Hank" Waverly (a wonderfully curmudgeonly, yet kindly, Charles Dean). Waverly's ability to lead troops hasn't translated well to his civilian life, and he and the inn are in financial trouble. Bob and Phil decide to help their old friend out by staging the pre-Broadway tryout of their new revue at the inn. At the guys' side are Betty (Kerry O'Malley) and Judy (Meredith Patterson), a sister song-and-dance team, whom the guys are planning on including in the revue. Of course, each girl becomes a romantic interest for one of the guys, and without fail, there are romantic complications for the pairings before" White Christmas" comes to its requisite happy ending.

It's charming old-fashioned stuff, but in this lumbering production, directed by Walter Bobbie, it feels sort of slushy. For the most part, Bobbie's staging returns to the tradition of performing scenes in front of the curtain while Anna Louizos' occasionally eye-popping sets – including the environment for the musical's grand finale – are changed. This practice makes the show feel even more like a throw-back to a previous era, when technology was not pre-eminent in stagecraft, but the creatives want to have things both ways, as indicated by the snow-machines that allow a "real snowfall" that cascades down on the audience at the end of the show. What one senses about the design choices is that they have been made to ensure that the show can be moved quickly from venue to venue on a rigorous tour schedule.

Despite the sluggish staging, audiences find themselves transported by "White Christmas" from time to time. Randy Skinner's choreography, particularly during the act two opener "I Love a Piano" – a song not from the movie, but rather Berlin's 1915 Broadway show, Stop! Look Listen!. Here, the large company performs some pretty nifty tap steps while the orchestra serves up some fabulous ragtime sounds. Equally delightful is a dream-like pas de deux for Phil and Judy after they've just met: fog rolls across the stage as they sing and dance to "The Best Things Happen While You're Dancing."

Other moments that shine include just about any that involve Martha (Susan Mansur), the Eve Arden-like character who basically runs the Vermont Inn. Mansur belts out "Let Me Sing and I'm Happy" with aplomb, and her comic timing as the perpetually single, wiseacre broad is impreccable. Amusing turns also come from Anne Horak and Katherine Tokarz, who play a couple of dumb chorus girls who Phil's been toying with, and from Peter Reardon, another one of the guys' army buddies, who's now a television producer. Reardon seems to channel another character (or performance) from the world of holiday-time filmdom, that of the perpetually opportunist Sam Wainright played by Frank Albertston in It's a Wonderful Life.

Denman and Patterson, who created the roles of Phil and Judy when "White Christmas" debuted in California, have settled into a natural groove as the pair that has no problem with their mutual attraction. Unfortunately Bogardus and O'Malley don't always convince as the vaguely misanthropic Bob and Betty who're fated for one another. They both are simply too winning and warm, and often it seems as if these two are simply delivering the performances that are required in this show that has arrived on Broadway already fully prepared, and, pardon the expression, frozen.

---- Andy Propst

Irving Berlin's White Christmas plays at the Marriott Marquis Theatre (1535 Broadway) through January 4. Performances schedule varies. Tickets ($66.50 - $121.50) can be purchased by calling 212-307-4100 or by visiting www.ticketmaster.com. A complete performance schedule is available her and at www.WhiteChristmasBroadwsay.com.