REVIEW | White Christmas, Sheffield Theatres
Grace Mouat (Betty) and Natasha Mould (Judy) in Irving Berlin’s White Christmas. Photo by Johan Persson.Written by Kirsty
Disclaimer: gifted tickets in exchange for an honest review.
Christmas is full of wonderful traditions, and watching White Christmas on TV surrounded by family would be high up on many people's lists of traditions. This year Sheffield Theatres has brought the Bing Crosby and Danny Kaye classic back to stage in a sumptuous new adaptation. Starring George Blagdin as Bob and Stuart Neal as Phil, two friends who become performers in the years after World War II. In the run up to Christmas they meet Judy and Betty Haynes played by Natasha Mould and Grace Mouat, who are heading off to the Columbia Inn which is in the promised to be snowy Pine Tree Vermont, which just happens to be owned by Bob and Phil’s old Army General; Hank Waverly. Through song, laughter and teamwork, Bob and Phil bring joy back to their beloved General and find love along the way.
Blagden and Neal were the perfect partnership as Bob and Phil, with Blagden really bringing the smooth and suave Bob to life with ease and panache especially in “Count Your Blessings (Instead of Sheep)” and the eponymous “White Christmas”. Blagden and Neal’s easy chemistry was obvious throughout the show but really shone in “Snow”, “What Can You Do With a General?” and the hilarious reprise of “Sisters”.
Stuart Neal as Phil was a revelation; whenever he was on stage I couldn’t take my eyes off him. He had perfect chemistry with everyone; he and Mould made the perfect couple and you were rooting for him in spite of some less than perfect views about the women in his theatre ensemble. Mould and Neal were wonderful in “The Best Things Happen While You’re Dancing” however the opening number of Act 2 “I Love a Piano” was the highlight of the show. Mould and Neal led an ensemble tap dance routine which was one of the best dance routines I have ever seen. Alistair David’s choreography was out of this world, and was the perfect mix of the Golden Age of musicals and modern shows and this was especially noticeable in the Act 1 closing number “Blue Skies”.
Stuart Neal (Phil) and members of the Company in Irving Berlin’s White Christmas. Photo by Johan Persson.Grace Mouat stars as Betty Haynes and there is no doubting her star power. Her vocals are flawless and she worked effortlessly with every member of the company. Mouat and Mould were truly stars of the show with their version of “Sisters” which is one of the most famous songs of the Golden Age of Musicals. Throughout it was clear that Betty and Judy were a double act and truly nothing could get between these sisters even when the odds weren’t stacked in their favour. Mouat and Blagden were also very well matched in terms of chemistry and sheer vocal skills, which was perfectly shown in “Love and the Weather” which showcased their talents. “Falling Out of Love Can Be Fun” allowed both couples to show their vocal and dance skills, and perfectly demonstrated how perfectly matched they are to each other. Jason Carr’s Musical Orchestrations of classic numbers brought a new life into songs that have such a special place in people’s hearts without making them unfamiliar. With the added flair given to this wonderful music by Alex Parker, I would love to get a Cast Recording of this production.
Sandra Marvin starred as Martha, the concierge of the Columbia Inn, but there is definitely more to Martha than meets the eye; not only does she catch the eye of the eternally grumpy Hank Waverly, she was also once a famous singer and boy does Marvin show us just how good Martha is. Marvin blew the roof off every barn in Vermont with her rendition of “Let Me Sing and I’m Happy” and throughout her comedic timing meant she worked seamlessly into the centre of every scene she was in. Marvin got further opportunities to work her acting muscles in her scenes with Waverly where she is feisty and stands up the man that never hears the word no. Ewen Cummins as Waverly was the steadfast anchor in the show and seeing the gruff Waverly melt ever so slightly when spending time with Susan, his granddaughter was heartwarming.
Paul Foster’s direction was excellent, and the way that every member of the supporting cast felt that their presence on the stage was vital to the story was testament to this. Danny Collins as Sheldrake was excellent but Charlie Booker was the scene stealer as the frantic and slightly stressed stage manager trying to bring a show to life in a barn. Craig Armstrong as Ezekiel was another joy to watch every time they were on stage.
Janet Bird’s stage design was extraordinary with trains, stages, and barns appearing on stage before the audience eyes, and the stage revolve was used expertly without detracting from the story being told. The sumptuous costumes were exquisite with special shout to Mouat and Mould’s “Sisters” costumes, and the costumes at the end of the show felt like you were in the middle of a Christmas tree with the female ensemble being the most perfect bauble. Richard Howell’s lighting design added an extra level of depth to Bird’s design and was the final piece that created the perfect piece of Christmas joy.
Whilst the movie of White Christmas may be a classic, this new staging is undoubtedly something new. Perfect for all of the family and given the Crucible’s reputation for productions moving to the West End, I would be so disappointed if this sumptuous show doesn’t light up the London stage next year.
White Christmas is at Sheffield’s Crucible Theatre until January 13, 2024.
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