The musical stage adaptation of "White Christmas" doesn't just recreate the 1954 film — it improves on it.

It took 50 years before the live version opened, and a limited-run revival is currently playing on Broadway. The show retains the film's characters, rearranges and adds new musical numbers, and simplifies and improves the plot.

The Diamond Head Theatre production, directed and choreographed by John Rampage, succeeds on several significant counts.

It gives the show its own identity, so that we don't waste away the evening making disappointed comparisons to Bing Crosby and Rosemary Clooney. It retains the original swampy, hip-deep sentimentality, but makes it acceptable and even enticing. And it blows us away with full-on production numbers that may not be perfect, but that are awfully, awfully good.

Come back on time from intermission so you won't miss a beat of "I Love A Piano," which opens Act 2. The number has nothing to do with the story, but everything to do with show biz.

Start with Kyle Malis and Kathryn Mariko Lee (in the Danny Kaye and Vera Ellen roles) tap-dancing on top of a baby grand piano. Then segue into the chorus segment where chorus members in black and white actually become parts of the keyboard. Then finish it off with more tapping atop a stage full of miniature baby grands.

Later, Nicole Marie Sullivan and Joshua Verde-Laguana (as the Clooney/Crosby pair) slip away to a New York night club for a smoky saloon duet, "Love, You Didn't Do Right By Me/How Deep Is the Ocean."

Sullivan, in a stunning gown built by costumer Karen Wolfe from acres of black net and sequins, appears atop a gigantic swan built by set designer Willie Sabel to resemble a Disneyland raft. The two trade torchy lyrics that are somewhat plot-related, but that are a long way from Vermont.

The four principals sing and dance well, the chorus has been excellently drilled, and supporting roles are fully turned out.

Allen Cole plays the forgotten General, keeping him real in the midst of swirling sentiment. Lisa Konove as the housekeeper makes the most of a belting solo number, "Let Me Sing and I'm Happy." Joe Houser pumps up a small part as an Army sergeant turned New York producer, and Fedrico Biven has some good moments as a Vermont bumpkin, who "came with the barn."

Emmett Yoshioka's musical direction and good work by the production crew (including a convincing snowfall for the finale) make sure that the evening is a treat for the ears and eyes.