Music and Lyrics: Irving Berlin
Book: David Ives and Paul Blake
Director: Paul Foster
One of the hoariest old chestnuts roasting around an annual festive fire is the 1954 film version of Irving Berlin’s White Christmas. In Sheffield, it provides theinspiration for the Crucible Theatre’s seasonal show, billed as “the perfect feel-good musical for all the family”.
The plot follows the romantic entanglements of musical duo Bob and Phil, in pursuit of the singing Haynes sisters, while rescuing the fortunes of their former army commander. His Vermont resort hotel is facing ruin, due to a lack of snow to attract tourists, and the impresarios decide to put their talents and showbiz contacts at his service to try and conjure up some customers.
The song White Christmas originally featured in an earlier film of 1942, Holiday Inn, starring Bing Crosby and Fred Astaire. The song was an instant hit, and the 1954 film sought to capitalise on this, with Fred Astaire replaced by Danny Kaye.Ironically, Berlin is said to have struggled with composing songs about Christmas because of his Jewish heritage.
And it is the songs which provide the life blood for this show, including as they do some of the great standards of the American songbook. Many of them worksuperbly as stand-alone numbers, but knitted into the storyline, and performed by characters whose own stories relate directly to the music, they bring the show to life. Some are poignant and yearning, such as love song How Deep Is The Ocean? Bob, played by George Blagden, uses it to try and woo back his hostile girlfriend, while Grace Mouat’s Betty counters with Love, You Didn’t Do Right By Me. Count Your Blessings (Instead Of Sheep) provides a touching lodestone for several intimate moments. Others are just great tunes for the entire ensemble cast to showcase their talent.
That talent is not confined to the songs. The choreography is spectacular, and the musical accompaniment provided by a 10 piece band under the baton of Musical Director Alex Parker is precise and exuberant. Some of the set-piece dancenumbers are scintillating, with Stuart Neal’s Phil, and his girlfriend Judy, played by Natasha Mould, providing some of the show’s most exciting routines, including some exhausting tap sequences. They are ably supported by a highly talented and well drilled ensemble who simply have everything nailed on. It is easy to forget that West Side Story, with its jazz influences, and acrobatic street dance moves, was in gestation during the filming of White Christmas. Some of the more dramatic routines on offer tonight almost doff their cap to the companion piece of musical theatre.
Designer Janet Bird has created a most ingenious set which shape-shifts from a rural barn to a sophisticated New York cabaret club without missing a beat. Hotel counters transform into pianos, fridges become doorways and bars, garden swings descend from the gods, and Christmas trees rise from the sub-stage. It is therefore little surprise to have snow falling at the show’s finale. The show opens with an audience singalong to the title song, but the cast provide a more tuneful version to (almost) close the show.
All the performances are flawless, but two contributions are awesome for very different reasons. Sandra Marvin’s Martha has such strength of personality and a voice of such range and power that it creates some jaw-dropping moments. Threedifferent, local, 10 year old girls play the role of Susan. On the night of this review, Ava Rothwell plays the part with such charm and aplomb that she (almost) steals the show, and certainly deserves her ovation at the end. As do they all.
Not all shows live up to their billing. This is one that does.
Runs until 13 January 2024
The Review Hub Score
Spectacular
