It matters not one jot that the story of White Christmas is so thin as to be almost transparent. It’s a glorious excuse to drool at 1950s frocks, wallow in sentiment, delicious Irving Berlin songs and captivating dance routines.
All of these elements are present in Nikolai Foster’s dazzling production – it captures the golden era of Paramount Pictures to perfection.
The production easily fills Curve’s enormous stage, with Michael Taylor’s set alive with neon signs, train cars, and a great rustic barn in Vermont.
Danny Mac gives a fine vocal performance as the brooding Bob to Emma Williams’ Betty, harder to win than her sister, Judy (Monique Young), instantly conquered by Dan Burton’s easy-going Phil. Both are excellent pairings, with just the right timbre and authenticity in their voices for the period.
There’s lovely close harmony for the girls in Sisters – reprised by Bob and Phil – and the quartet deliver numbers like Snow with joy and panache. Blue Skies is one of the glitziest numbers of all, closing Act I with dancers ending up, as is traditional, on top of the white piano.
There’s an assured and nicely comic performance from Wendy Mae Brown as Martha Watson, in fine voice in her solo number, Let Me Sing and I’m Happy. Stephen Mear’s choreography is faultlessly executed by a cast of 26 and a young company of a dozen. The final number, I’ve Got My Love to Keep Me Warm is just gorgeous.