Review of ‘White Christmas’: “No chance of a silent night”

Irving Berlin’s film classic relives on Sonning’s Mill’s stage through this new production of its popular musical theatre adaptation. Guillermo Nazara shares his views on the show, to let us know if all the hype for this wintry montage turns out to be a snow job.

I know what you’re waiting for. You’ve read it somewhere else before (thank you for your loyalty…), and now you want to hear it from me. Yes, it’s true. It happened. It was unwanted, but it happened. We couldn’t do anything else but to cope with it. In the cold English winter night, as a bunch of nasty critics and I (it’s just the way it must be articulated…) ventured into the solitary roads of Reading on our way to the Mill Theatre, drama soared beyond and before the stage, when our driver informed us that the car’s battery was malfunctioning, and he needed to drop us right away – in the middle of nowhere.

“At least it’s not raining,” claimed one of my colleagues as he attempted to give us some hope – suffice to say his words jinxed the whole thing even more… Fortunately enough, we made it on time to still relish on the succulent food treats that Sonning’s enchanting little venue had in store for us – the lucky group that got on the other cab had already started to eat; and I’m definitely not holding grudges against them, but since some of them are also performers, I just wish them every success in their rendition of Those Canaan Days – when it happens in real life…

For those with the same understanding of humour as the lyricist of Diana, The Musical had for proper rhyming, that was just a joke – the famine part, the taxi incident is, in fact, quite true. But a bit of unexpected preshow adventure is always amusing and quite welcome – especially when what comes next cannot live to expectations set by its spontaneous predecessor. White Christmas can sigh in relief, though – as the latest revival of Irving Berlin’s stage and film classic has so much charm, enticement and delight to fairly match and surpass any surprise spectacles.

Directed by Jonathan O’Boyle, this sumptuous tale of love and showmanship in its foremost glory is now brought into the intimacy of the Mill’s roughly 200-seat auditorium. A daunting challenge that could easily expose shortage of opulence and extravaganza, the montage cleverly manages to preserve all the richness and visual pizzazz of the piece through its effective blocking and brilliantly implemented staging.

Materializing within the limited room of its studio-type ambiance, it’s genuinely impressive how such degree of theatrical rizz has been accomplished in such effortless way. With every element of the production exploiting its full potential with tremendous prowess, the first contributor to its impeccable result stems from its immersive, highly dynamic blocking – bringing the entire locale to life through its integrating movement and diverse entrances.

The praise continues through what’s, admittedly, one of the best executed set designs of a full-scale musical taken into a considerably smaller space. Created by Jason Denvir, the versatility of his concept is, in all honesty, quite remarkable – capable of transforming the entire area into a completely different scene with the simple addition of the most basic props; evenly enhanced and complemented by David Howe’s magnificent lighting, delivering tone, emotion and atmosphere through his intricately colourful, old-Broadway-style approach.

Featuring a 7-piece live band playing under Jae Alexander’s guidance, the orchestrations (as well as the quality of the interpretation) are one of the most noteworthy components of the show – put together with such efficiency, attentiveness and intelligence, its sound never ceases to exude such a reinvigorating level of richness and flavour all throughout. On the other hand, Gary Lloyd’s elegant, energetic and extremely eye-catching choreography serves as the last installment in this long series of consummate endeavours – making of this version one of the best carried out stagings of the whole Autumn season (wait until the 21st, you White Walker freak).

As for the cast, the company oozes marvelous rapport, chemistry and appeal in their portrayals – as well as superb dancing and singing skills. Despite some of the acts lacking a very minor grade of credibility, though only at the start (probably, a warm-up issue), the overall and final impression is of a sincerely astonishing delivery.

Among them, the first mention goes to Jason Kajdi and Connor Hughes in the lead roles of Bob and Phil, displaying competent vocals but, most importantly, flaunting such captivating comicality. On the other hand, Gabriella Williams and Nic Myers make another memorable appearance as love interests Betty and Judy, playing their parts with great performing flair and even greater musical talent. Yet, the highest praise goes to Shirley Jameson as Martha, making of her character such a deliciously inviting presence, she becomes the show-stealer every time she sets foot onstage.

Funny, joyous and absolutely enjoyable, White Christmas brings the allure of the past and the fervour of today through its timeless score, endearing story and top-notch rendering. Despite the plot not being the most original, and its humour relying on a few too many dad jokes, the long-term glitz and glamour of this enduring classic rises over any unimportant flaw – and through this latest revival, secures its position as possibly one of the most thrilling, touching and, in the end, whimsical theatrical experiences to gift and be gifted with during the holiday period; only some tiny steps away from a Mariah Carey approval stamp.

All pictures credit to Pamela Raith.

White Christmas plays at Sonning’s Mill Theatre until 25 January. Tickets are available on the following link.

By Guillermo Nazara