22 December 2023 I 19:30 I Crucible Theatre, Sheffield
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This past week began with Oliver! at Leeds Playhouse, then moving on to Sunset Boulevard at the Savoy Theatre. It was a pleasure to return to the Crucible for White Christmas, just 3 days before Christmas Day itself for a merry and cheery festive warmer. Irving Berlin's musical does exactly that, driving the holiday rom-com that left me beaming from ear to ear the whole show. I have seen a couple shows at Sheffield's Crucible Theatre, but this really astonished me with the venue's capabilities, such enchanting sequences that I never thought would be possible in such a condensed space.
Seated on the second row (side) of the auditorium, there is such a closeness and feeling of involvement. Directed by Paul Foster, the story of White Christmas is far from the show I expected. While it maintains the family dynamic characterised by Christmas, the story sees two army buddies team up with a local sister act, delving into rehearsals for the epic showcase to save Columbia Inn, run by their former General. The style feels very much a mash up between 42nd Street, Crazy For You and Kiss Me, Kate, so if you're a fan of the whimsical musical comedies of the mid 20th century, you'll instantaneously fall in love with White Christmas!
One of the most spectacular things about this production is Janet Bird's set design, which compliments the Crucible's thrust staging perfectly. There is a moment during the first act, where in a scene of pure delightful wonder, the stage physically comes apart, transforming into a new location. This made my jaw fall to the floor, and by the time I pick it back up, yet another clever gimmick leaves me feeling excited like a little kid.
Bird and Katie Hunt's costume work is such a special thing. Whether it be sophistication or almost pantomime-like outfits, the vision is dreamlike, most of all Rita and Rhoda's (Megan Armstrong and D'Mia Lindsay-Walker), with iconic costumes from washing powder to church bells. Their humour is so stupidly silly that I'm itching for their next irrelevantly charming cameo appearance! Many moments, but particularly Blue Skies, utilise a double ringed revolve, which significantly helps to play to all audiences, and enhance the creative ways to block a conversation.
Encompassing an impassioned love tale, Bob and Betty (George Blagden and Grace Mouat) lead terrifically, as miscommunication threatens to tear them apart. Their duets have such a serene tone, in particular Mouat's performance of Love, You Didn't Do Right By Me, where the whole room stands still in awe over such vulnerability. And rounding off the dynamic foursome, Phil and Judy contrast with a charming and bubbly relationship. Beginning the show as Phil, Stuart Neal is a joy all over, with a perfect charisma. I immediately adored Neal's interpretation of the role, completing a divine couple's dance with Natasha Mould (Judy), those lifts and kicks are so gracefully executed. Audiences shortly said goodbye to Neal in a show stop, due to an unfortunate illness (we all wish a speedy recovery!). To complete the run, Danny Collins stepped into the role, remarkably within 10 minutes, and the way Collins picked up the frantic energy in such sudden circumstance, he can only be endlessly applauded for gifting us with such hilarious character work!
Alistair David's choreography is the glue that holds White Christmas together in it's various styles. We are treated to classic, contemporary, tap, chair-ography, and even hand work to make spectacles through the body. My weakness for tap lent itself to Act 2's opening being one of the best in my theatre history!! The sound of the taps shoes on such an intimate stage is thunderous. This moment (I Love A Piano) is extremely creative, with a gigantic staircase and traditionalist gendered dancing. The 50s style is evident, though Paul Foster's modern adaptation helps to reinvigorate the original film, helping to address and amend the film's problematic history.
Sandra Marvin has always been a magnificent performer, with wonderful comedic timing and powerhouse vocals! She takes the role of Martha with such joy, though the minute the cast disperse for Martha's showbiz number I'm Happy, the audience go absolutely wild, even with an encore, Marvin really knows how to work a stage and IMPRESS. Susan's (Renee Elliot-Latif) reprise is beautiful in bringing this familial comfort, as a young star she has such a strong charisma already, very high hopes for her!
Alex Parker's musical direction is very light and gentle for Christmas viewing, giving a delicate flow throughout the show. And I love how Nicole Johnson's piano skills are celebrated, given an extra amount of theatricality where you ordinarily wouldn't see a musician intertwined with the story.
It is a shame that White Christmas isn't quite generating the buzz it deserves! Although highly rated, I do not see nearly enough praise for such a terrifically wholesome festive musical. The way the cast immerse you with sustained eye contact and keeping the enthusiasm high, grab the next train to Vermont to catch this sensation!!
And remember: Oxydol, For Purityyyyyy.
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