Review: Irving Berlin’s White Christmas at The Crucible, Sheffield

The whole sparkling singing, dancing show is dazzling – a masterclass in finesse: slick and stylistically stunning. It deserves every sell-out audience, standing ovation and five-star rave review it’s been receiving.

If this putting-on-the-ritz celebration of bygone glamour and glitz doesn’t get you in the mood for Christmas then you’re grouchier than Bob in the role made famous by Bing Crosby in the original 1954 musical film.

From the opening scene, where a 1950s fridge becomes a door and the characters burst on stage from the grainy black and white screen of a supersized television set, the show is a chocolate box of visual treats. Pastel dresses swirl and twirl like a confection of Quality Street come to life, and the costumes in the dizzying dance routines are as bright as a glorious Technicolor movie.

Where the film was the definition of all-American wholesomeness, this new stage interpretation fizzes with Madmen vibes. It’s feel-good still, cosy and warm, but sexier, sharper, stylishly superb.

George Blagden plays Bob, and Stuart Neal the Danny Kaye part of Phil, as Army pals turned showbiz duo, who rally their old troops to help their beloved former General Waverly’s struggling ski resort lodge in a not-so-snowy Vermont.

The pair dance with panache, sing with pizzazz, and along the way – with plenty of cross words and crossed wires to get in the way of romance – fall for singing sisters Betty, played by Grace Mouat in Rosemary Clooney’s role, and Judy played by Natasha Mould.

Mouat’s vocals are showstopping – especially in her sultry solo Love, You Didn’t Do Right By Me – and Mould’s dancing effervescent and feather-light.

It’s all set against an astonishing score of songs – Sisters, How Deep is the Ocean, Blue Skies, Count Your Blessings, I’ve Got My Love to Keep me Warm – from prolific godfather of the American songbook, Irving Berlin.

The period touches – a dry Martini cocktail, choreographed feather fans – are evocative suggestions of a golden age of classic Hollywood, and the sets are pared back and ingenious.

Just wait for the spiral-cut Christmas tree in the magical snowfall finale – as nostalgic as a vintage coiled foil ornament just like the ones you used to know.

Irving Berlin’s White Christmas is at The Crucible, Sheffield, until Saturday, January 13, 2024