Musical by Irving Berlin. Bob Wallace and Phil David are two successful Broadway partners who become romantically involved with the Haynes Sisters. On vacation in Vermont they stay at a ski resort owned by the boy's former Army General and run by Martha, his wise-cracking housekeeper. The boys discover they are the only guests because there is no snow! They help out the General by staging their Broadway bound Revue at the resort as well as making a television appeal to their army buddies to show up on Christmas Eve. The result is a spectacular and emotional finale.
This family musical is full of tap dancing, laughter and some of the greatest songs ever written including Let Yourself Go, Sisters, The Best Things Happen When You're Dancing, Snow, Count Your Blessings, How Deep Is The Ocean and, of course, the title song, White Christmas.
Adapted for the stage by David Ives and Paul Blake from the Paramount Pictures movie with screenplay by Norman Krasna, Norman Panama and Melvin Frank and music and lyrics by Irving Berlin. Original stage production directed by Walter Bobbie.
Irving Berlin's other West End musicals in Top Hat which was staged at the Aldwych Theatre in 2012.
Original West End London Production 2014 with Aled Jones and Tom Chambers
Previewed 8 November 2014, Opened 12 November 2014, Closed 3 January 2015 at the Dominion Theatre in London
Irving Berlin's musical White Christmas in London starring Aled Jones and Tom Chambers for a strictly limited holiday season.
The 30-strong cast for White Christmas in London stars Aled Jones as 'Bob Wallace' and Tom Chambers as 'Phil Davis' along with Wendi Peters as 'Martha', Graham Cole as 'General Waverley', Rachel Stanley as 'Betty Haynes' and Louise Bowden as 'Judy Haynes' with a 17-piece orchestra. This production is directed by Morgan Young with choreography by Randy Skinner, set by Anna Louizos, costumes by Carrie Robbins, lighting by Ken Billington, sound by Clem Rawling, orchestrations by Larry Blank, dance and vocal arrangements by Bruce Pomahac and musical direction by Andrew Corcoran with UK associate choreography by Helen Rymer.
When this production opened here at the Dominion Theatre in November 2014 Dominic Cavendish in the Daily Telegraph wrote that the show "seemingly compresses 12 days' worth of hearty good cheer into two and a half hours... with a lightweight storyline barely embellished by librettists David Ives and Paul Blake, you are mainly left admiring baubles. The stylish costumes, the wrapping-paper decor, the hummable-while-they-last tunes, the big-band vibe." Neil Norman in the Daily Express described how "comprehensively mired in Eisenhower-era America it resists re-upholstering for a modern audience and its sentimental patriotism is a schlock to the system. The only way to treat it is as a nostalgia-fest for Bing Crosby fans... This production at least reveals the songs lying beneath the shadow of the biggest selling single of all time and the cast performs with barnstorming gusto. Even the orchestra manages to replicate the brassy wallop of a 1950s' big band." Lyn Gardner in the Guardian commented that "it liberally sprinkles snowflakes and cosiness and throws in an explosion of song and high-energy hoofing... and the opportunity to wallow in uncomplicated good cheer with a large side helping of nostalgia. The show revels sincerely and entirely without irony in the lost innocence and wholesomeness of 1950s America." Sam Marlowe in the Times highlighted that "Aled Jones and Tom Chambers are engaging in roles made famous by Bing Crosby and Danny Kaye... This show is amiable enough, but tacky as tinsel and as artificial as a plastic conifer. A big, gooey dollop of Christmas kitsch." Quentin Letts in the Daily Mail said "the producers have gone into this with a sure idea of their middle-aged (and possibly under-13s) market and they deliver the goods for anyone wanting a night of old-fashioned, melody-laden, spangly costumed American schmaltz." Paul Taylor in the Independent highlighted that "you may feel that you've endured an entire lifetime of Christmases, white and otherwise, by the end of this amiable, lavish, dynamically danced, but dramatically insipid and ersatz-seeming stage-musical version of the famous 1954 movie." Ian Shuttleworth in the Financial Times noted that "in some ways, the most Christmassy thing about the show is the casting of Aled Jones... he works extremely well in the Bing Crosby role as Bob Wallace and is particularly suited to the gently wry mood of the character." Fiona Mountford in the London Evening Standard thought that with "the indestructible songs of Irving Berlin, it's an avalanche of festive goodwill. Or, at least, it should be, as this affable production struggles to achieve such monumental proportions."
"Most stage adaptations of movies make at least a teensy-weensy attempt to reinvent the piece in theatrical terms. Not White Christmas. It further irons out an already Christmas-card-flat plat and in almost every other way this old-fashioned show is merely a bland, if efficient, replica of the marvellous movie... Never mind, Irving Berlin's songbook, much of it a sort of musical weather forecast (Blue Skies, Love And The Weather, Snow, White Christmas) is a watertight winner. The single new idea has been to give the general a young granddaughter to belt her way charmingly through Let Me Sing And I'm Happy. She's a very welcome breath of fresh air." The Mail on Sunday
"White Christmas adapts remarkably well for the stage. The show wins no prizes for subtlety... If the emotions are as synthetic as the snow that falls on cast and audience alike at the final curtain, the songs are the genuine article. Such Berlin standards as Blue Skies and Let Yourself Go have been seamlessly interpolated into an already rich score. With Alec Jones's soaring voice and breezy charm and Tom Chambers's dynamic dancing, this is a show that even Scrooge would enjoy." The Sunday Express
"Downing this hypersweet cocktail based on the 1954 movie musical isn't utterly intoxicating, but it leaves you with a satisfying sense of good cheer - like sipping a snowball next to a cosy fireside. Morgan Young's safely traditional staging doesn't shy away from the corniness and "count your blessings" platitudes of this piece of Americana... Yet, while the production is continuously entertaining, the rapport between the leading men is a little thin. Alec Jones brings vocal virtuosity and an innocent amiability to the Crosby role, but he makes a prim romancer. And don't expect cascades of snow." The Sunday Times
Tom Chambers' West End stage credits include Irving Berlin's Top Hat the Musical (Aldwych Theatre 2012). His television credits include the role of 'Sam Strachan' in Holby City and the role of 'Max Tyler' in Waterloo Road. He also took part and won the 2008 series of Strictly Come Dancing along with his professional dance partner, Camilla Dallerup. Aled Jones is making his West End musical theatre debut in this production. His 1985 cover version of 'Walking in the Air' from the film adaptation of Raymond Briggs's book The Snowman reached the top five in the pop charts. In recent years he has become known as a presenter on various television programmes including Songs of Praise, Escape to the Country and Daybreak. He also took part in the 2004 series of Strictly Come Dancing along with his professional dance partner Lilia Kopylova, coming in fourth place.
White Christmas in London at the Dominion Theatre previewed from 8 November 2014, opened on 12 November 2014 and closed on 3 January 2015.
1st West End London Revival 2019 with Danny Mac and Dan Burton
Previewed 15 Noveber 2019, Opened 25 November 2019, Closed 4 January 2020 at the Dominion Theatre
A major revival of Irving Berlin's musical White Christmas in London for a strictly limited holiday season
This major revival of Irving Berlin's White Christmas the Musical - which transfers to London's West End following a season at the Curve Theatre in Leicester in 2018 - promises to be a merry and bright theatrical experience for the whole family.
The cast features Danny Mac as 'Bob Wallace' and Dan Burton as 'Phil Davis' who are both reprising their roles from this production's original staging at the Leicester Curve Theatre in 2018. In London's West End they are joined by Danielle Hope as 'Betty Haynes', Clare Halse as 'Judy Haynes', Michael Brandon as 'General Henry Waverly', and Brenda Edwards as 'Martha Watson', with Stephane Anelli as 'Mike', Aimee Hodnett as 'Rhoda', Michael Lin as 'Jimmy', Sion Tudor Owen as 'Ezekiel Foster', Kayleigh Thadani as 'Rita', Alexandra Waite-Roberts as 'Tessie', Matthew Whennell-Clark as 'Ed Sullivan', and Jack Wilcox as 'Ralph Sheldrake', along with Robbie McMillan, Matthew Caputo, Oliver Ramsdale, Sophie Camble, Anna Woodside, Jo Morris, Jordan Crouch, and Delycia Belgrave. Directed by Nikolai Foster with choreography by Stephen Mear, sets by Michael Taylor, costumes by Diego Pitarch, lighting by Mark Henderson, and sound by Tom Marshall.
When this production here at the Dominion Theatre in London's West End in November 2019, Nick Curtis in the London Evening Standard said that "Nikolai Foster's production is studded with stage troupers and TV talent-show graduates who do their high-kicking, wide-smiling jobs well enough. It's exuberant, dumb fun... Danny Mac makes an able straight man to Dan Burton's clownish flirt Phil, while Danielle Hope and Clare Halse don't have much to do until their big numbers wheel around... The encore, I've Got My Love to Keep Me Warm, is irresistible and brings the audience to its feet." Matt Wolf in the i newspaper wrote that "Strictly Come Dancing alumnus Danny Mac is a genuine musical theatre natural and can croon with the best of them while cutting loose as expected on Stephen Mear's buoyant dance routines... The time-honoured music is there to be savoured alongside a climactic shower of snow, at which point you might want to bring a mac, while also watching one onstage." Dominic Cavendish in the Daily Telegraph thought that, "in its male leads, Danny Mac and Dan Burton, it offers the nostalgic pleasure of square-jawed decency... With ravishing costumes, svelte choreography by Stephen Mear, and enjoyable supporting turns, it's all as shiny as a newly unwrapped Christmas tree bauble. But the memory of it will swiftly be boxed away and left alone, too. A treat with a lower-case t." Clive Davis in the Times commented: "Be warned, the stage musical is a pale imitation of the movie and about as alluring as a Christmas tree that has lost half of its needles - no matter how much tinsel you hang around it, the bare patches are hard to ignore... Marooned in the wide-open spaces of the Dominion Theatre, it looks and sounds underpowered... Danny Mac and Dan Burton are hardworking but uncharismatic."
Danny Mac is probably best know for playin the role of 'Dodger Savage' in the UK TV Channel 4 drama series Hollyoaks from 2011 to 2015. He was a finalist on the UK TV BBC One dance contest Strictly Come Dancing in 2016. His recent London stage credits include the role of 'Gabey' in Drew McOnie's revival of the Leonard Bernstein musical On The Town at the Regent's Park Open Air Theatre in 2017.
Dan Burton's West End stage credits include the ensemble in the original cast of James Powell's production of the musical Dirty Dancing at the Aldwych Theatre in 2006; the roles of 'Padamadan' and 'Nikos' in the original cast of Jerry Mitchell's production of Legally Blonde the Musical at the Savoy Theatre in 2010; the roles of 'Barraclough' and 'Prince Philip' in the original cast of Richard Eyre's production of the George Stiles and Anthony Drewe musical Betty Blue Eyes at the Novello Theatre in 2011; the role of 'Joe Pesci' in Des McAnuff's production of the 'Frankie Valli and the Four Seasons' musical Jersey Boys at the Prince Edward Theatre in 2012; the role of 'Earl' in Richard Eyre's revival of the musical The Pajama Game at the Shaftesbury Theatre in 2014; and the role of 'Tulsa' in the original cast of Jonathan Kent's revival of the Stephen Sondheim musical Gypsy at the Savoy Theatre in 2015.
"White Christmas is delightfully old-fashioned... Yet when Irving Berlin's classic score is padded out with songs from his glorious back catalogue, the outside world disappears. As one lyric puts it, 'The night is cold but the music's hot,' and Stephen Mear's choreography ensures that the stage temperature sizzles too. Clean-cut and square-jawed, Danny Mac is perfect as the GI-turned-song-and-dance man and Dan Burton excels as his carefree sidekick. Danielle Hope and Clare Halse make worthy objects of their affection... Nikolai Foster directs with such integrity; the cast perform with such sincerity; and, one gay kiss apart, the production is so true to period, that the show is utterly irresistible." The Sunday Express
"You know the song, and probably the story too from the classic Bing Crosby movie. And now the ultimate festive showbiz tale is warming hearts in the West End in this fabulous production... The plot is as light as a snowflake, but it hardly matters when glorious numbers choreographed to Irving Berlin's fabulous songs fill the stage. With smart set design, nostalgic costumes and a pretty much flawless cast, this winter wonder is as Christmassy as roasting chestnuts. Shows like this they don't make any more." The Sunday Mirror
"Nikolai Foster's huge, cinematic production... [is] choreographed to the hilt by Stephen Mear, with Danny Mac and Dan Burton as the boys, and Clare Halse and Danielle Hope as the singing-sisters act they pair up with. Michael Brandon is the sweet old general, now a useless innkeeper. In the absence of a proper plot, the cast's job is simply to dance and deliver the lovely old songs which they do immaculately. A West End belter it is not. But this is still a gift-wrapped, festive treat for fans of Irving Berlin's golden touch." Mail on Sunday
The musical White Christmas in London at the Dominion Theatre previewed from 15 Noveber 2019, opened on 25 November 2019, and closed on 4 January 2020