Picture: Grahame Larter
White Christmas was reviewed at the New Victoria Theatre, Woking. The UK tour continues until 2 January 2022.
Star rating: five stars ★ ★ ★ ★ ★
The stage musical adaptation of White Christmas, the iconic 1954 film starring Bing Crosby and Danny Kaye, may suggest a specific seasonal setting in its title, but it would be entirely wrong to wait until Christmas to see it. As this production from Made at Curve abundantly demonstrates, the story of a variety double act of army veterans helping out their old commanding general, and finding love in the process, works just as effectively at any time of year.
The stage version retains much of the plot of the original film while enabling Irving Berlin’s timeless classics to fly thick and fast: the score is replete with musical gems including ‘Blue Skies’, ‘Sisters’, ‘Snow’, ‘Happy Holiday’, ‘I Love a Piano’, ‘The Best Things Happen While You’re Dancing’, ‘Count Your Blessings Instead of Sheep’, and, of course, ‘White Christmas’ itself.
The success of Made at Curve’s production, directed by Ian Talbot, is due in part to the fantastic onstage chemistry between the two male principals, Matthew Jeans as Bob Wallace and Dan Burton as Phil Davis. Both are totally convincing as variety act partners, best friends, good-natured army veterans, and romantic leads. A particular highlight of the duo is their hilarious Act II reprise of ‘Sisters’.
Jessica Daley and Emily Langham equally excel as sister act Betty and Judy Haynes. Daley plays well the part of Jeans’s reluctant amour, and smoulders in her brief turn as a New York lounge singer. Langham’s connection with Burton’s character is more immediate, but she nonetheless realises delightfully the role of resilient love interest to a ‘player’ popular with the ladies.
Duncan Smith is thoroughly endearing as the retired General Waverly, blissfully unaware of the dire financial status of his hotel, and Ella Kemp adds some fine touches as his young granddaughter and would-be actress, Susan. Kraig Thornber is commendably engaging as the much badgered stagehand Ezekiel.
But the standout performance is undoubtedly delivered by Sally Ann Triplett as Martha Watson, the unflappable receptionist keeping the General’s ailing business together amid imminent ruin, who comes into her own in the wonderful solo number, ‘Let Me Sing and I’m Happy’. Triplett, Daley and Langham also form a superb trio in ‘Falling Out of Love Can Be Fun’.
The chorus supports the main cast effectively, Stephen Mear’s choreography yielding one dazzling song-and-dance routine after another. Much first-rate playing is to be heard from the pit band as well, with notable performances from Eikel Hernandez on trumpet, Andy Hunter on saxophone, and musical director Neil MacDonald on keyboard.
Between the comedy, choreography, and romance, a highly enjoyable evening’s entertainment is assured, from the opening rendition of ‘White Christmas’ (touchingly performed to the accompaniment of an onstage music box) to a spectacular closing number that will warm anybody’s heart in the cold winter months.
Christopher Wiley
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