White Christmas | Live Show Review

In its 70th year, Irving Berlin’s White Christmas remains a stalwart Christmas film. For most, even hearing the title evokes Bing Crosby’s dulcet crooning of ‘I’m dreaming of a white Christmas.’ Both the film and the song are cozy, familiar, and a saccharine distraction from real life – much like the Mill at Sonning’s production of this festive favourite.

Nestled at a fork in the River Thames, the converted water mill has, since 1982, stood on its own two legs as a regional theatre. It prides itself on producing in-house musicals and plays rather than hosting touring shows. As a dining theatre, dinner is included with every ticket and is very much part of the experience. Sitting amongst warmly lit wooden beams and lavishly decked Christmas trees, we tucked into roast turkey with an assortment of vegetables slathered in gravy – a meal that set the festive mood. The ‘show’ began here and continued in the same spirit.

With a small thrust stage in a 217-seat auditorium, one might expect productions at the Mill to feel intimate or scaled down. However, as the Overture struck its opening chord, we were transported to the Golden Age of musical cinema. With just a four-piece band, the arrangements by Music Director Jae Alexander proved to be masterful.

The plot closely follows that of the film: a pair of American soldiers-turned-singing-and-dancing stars on the Ed Sullivan Show find themselves at a ski lodge in deepest, darkest Vermont. They attempt to save the failing business – owned by their former Major – by putting on a show in a week. It’s a familiar premise, not dissimilar to other movie musicals of the era. While the narrative is innocuous and sometimes feels stretched in a two-act format (the second half lags slightly with diegetic numbers from the show-within-a-show), its primary function is to serve as a vehicle for some of Irving Berlin’s most beloved tunes. Refreshingly, the production doesn’t press the audience with deep questions or moral dilemmas. It’s a show meant to be enjoyed at face value.

The relatively large cast of 14 has no weak links. Jason Kadji and Connor Hughes (as Bob and Phil, respectively) command the stage with cheesy confidence and palpable chemistry – not only with each other but also with Nic Myers and Gabriella Williams (as Judy and Betty). Myers and Williams are a powerhouse duo; you always feel in safe hands when they are onstage. In the iconic duet ‘Sisters,’ the playful yet loving dynamic between the two showgirls is immediately clear. Myers, in particular, is a standout, effortlessly blending physical comedy with extended dance breaks.

Special mention must also go to Shirley Jameson as Martha, who brings the house down with ‘Let Me Sing and Be Happy’ towards the end of Act One, giving us all a taste of good old-fashioned razzle-dazzle. The entire cast navigates Gary Lloyd’s classic balletic-style choreography with ease – a feat made even more impressive given the small stage and frequent high kicks!

At the final reprise of ‘White Christmas’ (complete with an audience sing-along), we are showered with theatrical snow (the non-cold kind), bringing us closer to that warm, fuzzy, nostalgic Christmas feeling we all yearn for each year.

Director Jonathan O’Boyle’s White Christmas delivers exactly what you want from a festive musical: it’s campy, lighthearted, and doesn’t demand much from its audience. Running until late January may require some suspension of belief, but this is the hallmark Christmas movie of Musical Theatre – it does exactly what it promises in the best possible way.

White Christmas plays at The Mill at Sonning until 25th January 2025. For tickets, visit millatsonning.com 

PRODUCTION CREDITS

White Christmas by Irvin Berlin (music, lyrics), David Ives (book) and Paul Blake (book)

The Mill at Sonning Theatre, 6 December 2024

Cast Jason Jajdi, Connor Hughes, Gabriella Williams, Nic Myers, Mark Curry, Shirley Jameson, Natasha Cayabyab, Shem Omari James, Greta McKinnon, Eleanor Walsh, Elliot Allinson, Lewis Rae, Grace Chan and Jack Speck

Director Jonathan O’Boyle
Set Designer Jason Denvir
Costume Designer Natalie Titchener
Choreographer Gary Lloyd
Assistant Choreographers Lauren Gore, Emma Hunter
Lighting Designer David Howe
Musical Arranger & Musical Director Jae Alexander
Sound Designer Chris Whybrow
Lighting Associate Freddy Sherwood
Casting Director Jane Deitch