As something of an immovable Scrooge around this time of year, it says much that Sheffield Theatres’ production of Irving Berlin’s 1954 Paramount classic White Christmas has injected me with so strong a seasonal stimulant I’ve been humming its tunes non-stop since stepping out of the theatre into the chilly night air.
The Bing Crosby vehicle (and Paramount’s first feature in VistaVision) has long been a favourite viewing for many in December. Despite encapsulating everything magical about classic Hollywood musicals, I’ve always been inexplicably immune to its contagious charms. It gives me great pleasure to say the Crucible was where my defences crumbled within seconds. I was totally won over.
The cast, including the ensemble, deliver nothing less than pure excellence from beginning to end. George Blagden and Stuart Neal as Bob Wallace and Phil Davis, have the daunting task of performing in the shadow of Bing Crosby and Danny Kaye, the two stars indelibly tethered to White Christmas. Both have physical attributes that channel classic stars perfectly, in mannerisms as well as looks. Blagden matches Crosby’s smoothness but is a considerably warmer presence, and Neal has the same springy jovialness one associates with Kaye, to say nothing of his dancing prowess!
They are matched perfectly with Grace Mouat and Natasha Mould as Betty and Judy respectively, their chemistry palpable. Mouat’s rendition of ‘Love, You Didn’t Do Right by Me’ and Mould’s skilful dance in the first half with Neal were particular highlights.
Sandra Marvin provides great comedic value and classy vocals as Martha, hiding the mounting bills from Ewen Cummins’ staunch but soft-hearted Waverly.
Each member of the ensemble performed their routines with jaw-dropping panache. The complexity of performing across the theatre’s thrust stage with several moving parts is no small feat!
A collective mention must be made for director Paul Foster, designer Janet Bird, choreographer Alistair David, lighting designer Richard Howell and musical director Alex Parker who have transported their audiences back to the glamour years of classic Hollywood. It felt as though we were behind the cameras on a studio lot. A long-gone aesthetic that’s rarely recaptured today, even in contemporary Hollywood.
An undiluted delight from beginning to end, and a huge thank you Carrie Askew for securing excellent seats at the Crucible for Exposed.
5/5
