Appealing, Predictable ‘Colors’

The annual “Colors of Christmas” tour stopped again at the Cerritos Center for the Performing Arts over the weekend.

And like packaged, predictably flavored holiday food, the lively program--which featured singers Oleta Adams, Peabo Bryson, Melissa Manchester and Christopher Cross--demonstrated that, for most of the audience, it still has plenty of shelf life.

These are, after all, performers whose hits reach back more than two decades, who were performing before a full house of people eager to hear yet one more rendition of tunes such as Cross’ “Sailing,” Manchester’s “Don’t Cry Out Loud” and Adams’ “Get Here.”

The singers were happy to comply, delivering the songs on schedule, without much variation from the original versions, as familiar as a Christmas fruitcake.

Along with the hit tunes, the quartet--singing together, as well as in solo and duo combinations--sprinkled in holiday standards.

Two carols, “Hark, the Herald Angels Sing” and “Joy to the World,” opened and closed the program via collective performances that were joined by the vigorous young singers of the Maranatha Community Choir.

Adams gave a smoky rendering of “The Christmas Song” before joining Cross to sing “Do You Hear What I Hear?” and Bryson provided his own seasonal number, “Born on Christmas Day.”

Easily the most charismatic of the quartet, Bryson wrapped up the first half of the performance by strolling through the audience, down the aisles and, on one occasion, settling into one listener’s lap.

Manchester was her familiar, effervescent self, blending a glamorous visual presentation with vocalizing that occasionally threatened to go over the top.

Adams, somewhat more laid-back, brought a bright sense of humor to her segment. And Cross’ stoic demeanor balanced Bryson’s charisma with a performance that brought to mind the description of an actor who “performed like a tree.”

The concert’s most charming moment was the Bryson and Adams duet on “A Whole New World.” Calling two tiny girls and a nattily dressed young boy to the stage, the pair sang (and danced) the number in delightful interaction with the wide-eyed young people.

There were a few similarly engaging moments, but too much of the program unfolded with predictable musical monotony. Nor was it helped by an overamplified drummer who took every opportunity to bash his way through the entire orchestra.

Given the heavily textured ‘80s-style arrangements, in fact, it’s hard to understand why the program needed an orchestra at all. Most of it could have been performed with a couple of synthesizers instead of the barely discernible string section. But music director Diane Louie and her talented players deserve credit for trying to add musical relevance to the proceedings.

The “Colors of Christmas” shows Saturday and Sunday were likewise sold out.