Nic Myers, Connor Hughes, Gabriella Williams and Jason Kajdi in White Christmas at The Mill at Sonning. Picture: Pamela Raith Photography
White Christmas continues at the Mill at Sonning until 25 January 2025.
Star rating: five stars ★ ★ ★ ★ ★
Like every holiday season musical of the past few years at The Mill at Sonning, White Christmas is a magical experience that once again brings the spirit of the classic 1954 film, starring Bing Crosby and Danny Kaye, to life on stage.
Under the masterful direction of Jonathan O’Boyle and expert musical direction by Jae Alexander, this production is a smaller scale version of the festive musical that was first staged at The Muny in Saint Louis in 2000, followed by numerous US and UK tours, two Broadway engagements in 2008 and 2009, and a West End run at the Dominion in 2014.
The definitive production of White Christmas I had the luck to see at was at the Mayflower in Southhampton in 2006. It showcased the dancing talent of Tim Flavin and Emma Kate Nelson and was graced by the legendary Lorna Luft as Martha, a showstopping performance she repeated at the Paper Mill Playhouse in New Jersey (where the show has been revived again, running until 29 December).
The 2019 West End revival, which again played at the Dominion was kind of a letdown compared to its predecessor, but this new, more intimate staging with brand-new choreography by Gary Lloyd is a welcome alternative to the original’s large-scale setting, enhancing its festive charm even more.
Dave Ives and Paul Blake’s book which follows the characters of Bob Wallace and Phil Davis, former soldiers turned successful song-and-dance men who team up with sister act Betty and Judy Haynes to save a struggling Vermont inn owned by their former commanding officer, General Waverly. It’s an excuse for a cavalcade of some of Irving Berlin’s immortal classics, such as ‘Sisters’, ‘Count Your Blessings’ and the title number, plus other standards that weren’t in the movie: ‘Let Yourself Go’ (mashed up with ‘Happy Holiday’), ‘Let Me Sing and I’m Happy’, spectacularly delivered by Shirley Jameson in the role of Martha. Highlights, as always, are the Act I finale ‘Blue Skies’ and the Act II opener ‘I Love a Piano’, both developed into full-out production numbers that still fit marvellously on the relatively small Sonning stage.
Admittedly, the story – with its romantic entanglements, hilariously comedic moments and uplifting character interactions – does provide a nice backdrop for the classic Berlin songs, which are further enhanced here by the stunning set design by Jason Denvir and the beautiful period costumes by Natalie Titchener, while the exquisitely crafted musical arrangements, brought to life by a live orchestra, add richness to the soundscape.
The talented cast delivers exceptional performances, infusing depth and emotion into their roles. Jason Kajdi shines as the charismatic Bob Wallace, while Connor Hughes brings humour and charm to the role of Phil Davis. Gabriella Williams and Nic Myers form a delightful duo as Betty and Judy Haynes, their voices blending perfectly into the show’s timeless numbers.
On par is the supporting cast, with Mark Curry, delivering a heartfelt portrayal of General Waverly, and Natasha Cayabyab, making a remarkable professional debut as Susan. The energetic ensemble – featuring Shem Omari James, Greta McKinnon, Eleanor Walsh, Elliot Allinson and Lewis Rae, and swings Grace Chan and Jack Speck – are all topnotch.
Set in the charming Mill at Sonning, a venue renowned for its dinner theatre experience, the show’s intimate mood is set by a delicious pre-performance meal, making it an ideal outing for the season.
White Christmas is a truly heartwarming spectacle that promises to leave audiences feeling full of holiday cheer well into the new year. We must thank artistic director Sally Hughes for her taste and vision, always resulting in the high-quality of the musicals at The Mill. And we can’t wait for next year’s production of My Fair Lady.
Patrick Honoré
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