White Christmas – Crucible Theatre, Sheffield

Natasha Mould, Sandra Marvin and Grace Mouat in White Christmas at the Crucible Theatre, Sheffield. Picture: Johan Persson

White Christmas continues at the Crucible Theatre, Sheffield until 13 January 2024.

Star rating: five stars ★ ★ ★ ★ ★

Irving Berlin’s White Christmas needs little introduction. It is the story of song-and-dance men, Bob Wallace and Phil Davis who both fall in and out of love with their headline act, the Haynes sisters, whilst they endeavour to put on a musical revue to save a Vermont inn owned by their former army general who is down on his luck.

Based on the 1954 film which has become a Christmas staple for many, this show is an utter joy. First performed in the St Louis Municipal Theatre, Missouri (albeit, rather unseasonably) on 17 July 2000, the musical dilutes the story and characterisations of the source material, allowing it to translate to the stage incredibly well; and while the narrative itself may be thin on the ground, Berlin’s songbook is absolutely flawless. ‘White Christmas’ is iconic and undeniably embedded in popular culture, but there are so many other joyous musical numbers nestled within.

Alistair David’s choreography is varied and vivacious, and the production numbers are delightful. Opening with a slice of wholesome 1950s Americana, ‘Happy Holiday’ fills the stage with jive and Lindy Hop; whilst there is a Fosse inspired production number – all bowler hats, chair straddling and sharply precise movements – for ‘Blue Skies’. ‘Snow’ is wonderfully energetic as the cast flit between railway carriages which dart around the revolving stage, and there is a full-on old-school Hollywood style tap routine for ‘I Love a Piano’.

Sandra Marvin stands out from the cast with an abundance of sass and class as Martha, and literally brings the show to a halt with her rendition of ‘Let Me Sing and I’m Happy’; while George Blagden charms as Bob Wallace and Grace Mouat sings beautifully as Betty Haynes, especially in her rendition of ‘Love, You Didn’t Do Right By Me’. The supporting cast and ensemble work well together and there is genuine chemistry between the leads.

Paul Foster directs with an assured hand, avoids over-sentimentality, and fully utilises Janet Bird’s wonderfully designed, multi-layered set, which is deceptively simple on initial impressions, but which repeatedly evolves and surprises throughout the course of the production. With a lighting design flooded with hues of purples and blues, the show elicits a feeling of nostalgia and warmth, while still feeling fresh and modern throughout its run time, which absolutely flies by.

White Christmas really is the perfect festive treat. The show itself may be twee in its very nature, but despite its relatively recent inception, it has the look and feel of an old-fashioned Broadway musical; and as the show reaches its denouement and the inevitable rendition of the title song arrives, you cannot help but succumb to its warmth and its charms, especially when a production is as competently put together, beautifully presented and as thoroughly enjoyable as this one is.

Paul Szabo