Review: Irving Berlin's White Christmas (The Mill at Sonning)

Review by Daz Gale

⭐️⭐️⭐️⭐️

The annual festive musical at the beautiful The Mill at Sonning has been a favourite tradition of mine for the past three years, with previous trips to see Top Hat (twice) and High Society all blowing me away. For this year’s offering, they have ramped up the festive theme to bring us a new production of the classic White Christmas. Would this be able to match the level of the previous three years and leave me feeling merry and bright?

Originating as a movie in 1954, the stage adaptation of White Christmas premiered in 2004 and has been revived multiple times since for runs on the West End, Broadway, and UK tours. Set in 1954, it follows two World War II veterans as they attempt to save a local inn in Vermont. Teaming up with a sister act, they fall in love in the process and discover the true meaning of Christmas.

With a book by David Ives and Paul Blake, White Christmas is a beautifully charming show, designed for complete enjoyment. The plot may not be the grandest but it is the getting there and the performances along the way that truly entertain. The joyful nature of the writing paired with the use of Irving Berlin’s music and lyrics makes it easy to lose yourself in the story and prepare to fall in love, as the characters do.

White Christmas is usually seen in huge spaces such as the Dominion Theatre, so the intimate space that is the Mill at Sonning may not have seemed the most obvious or conventional of choices. Still, this production really is full of surprises, continually impressing me with how comparatively grand it is making each sequence. The show itself feels larger than you would expect from the space and delivers consistently excellent production value.

A lot of that can be credited to director Jonathan O’Boyle who works his magic here, expertly finding ways to bring the story to life and delighting in doing so. The added intimacy of this production makes the show feel almost immersive in nature as barriers between stage and audience are largely forgotten, leaving you feeling part of the show – indeed, do your vocal warm-ups before a trip here as you will be asked to join in on that iconic title number.

O’Boyle has great tools at his disposal, with one key element being Gary Lloyd’s breathtaking choreography. Intricate and glorious, the stage bursts with life, filling every inch of the theatre with incredible movement that is impossible not to smile at. Jason Denvir’s fun set design transports us to sunny Vermont in a simple yet effective backdrop that transforms leaving most of the space for the cast to excel.

Of course, it is Irving Berlin’s songs that prove to be a huge draw here, with Jae Alexander’s musical arrangement and direction stunningly realising them. The short but sweet ‘White Christmas’ may be the best known and is gorgeous in both of its outings, with the audience singalong proving oddly moving towards the end. But this is not a one-song show, and others are just as fantastic with Act One closer ‘Blue Skies’ and Act Two opener ‘I Love A Piano’ fusing music and movement together to create two of the biggest and best sequences in the show.

Connor Hughes and Jason Kajdi lead the cast as double act Phil and Bob with an abundance of charisma and great chemistry between them. Always charming the cast and audience, both deliver great singing and dancing alongside comedic timing and timeless acting. A completely different dynamic comes when the pair meet their love interests, with Kajdi channelling a more withdrawn and blunt side, while Hughes ramps up the energy and exuberance in a winning portrayal.

The other double act in the show are sisters Betty and Judy, wonderfully played by Gabriella Williams and Nic Myers. Immediately wowing with their performance of ‘Sisters’, with Williams bringing the house down with the best vocal of the night in big act two solo ‘Love, You Didn’t Do Right By Me’. Other highlights among the fantastic cast are Elliot Allinson’s fantastically over-the-top and stressed Mike, creating a comic partnership with Lewis Rae’s comedy gold Ezekial. Shirley Jameson delivers a delightful turn as Martha while Mark Curry gives a sweet and measured turn as General Waverly. Though underused in comparison, Shem Omari James shines as Sheldrake with Natasha Cayabyab a fabulous Susan.

Trips to The Mill at Sonning are always a joy, thanks to the stunning two-course meal that comes with any ticket to the show and the overall gorgeous setting. However, these experiences can only be elevated when the show in question is as fabulous as White Christmas. With a great production value and impressive cast, you can’t help but smile at the recreation of this story and the pure euphoria it brings, ensuring I left the theatre well and truly in the Christmas spirit. A complete dream of a production, may all Christmas shows be as bright as this joyous one.

White Christmas plays at The Mill at Sonning until 25th January 2025. Tickets from www.millatsonning.com 

Photos by Pamela Raith