OLD FRUIT JAR PRODUCTIONS’ It’s A Wonderful Life is adapted from the film of the same name - a deeply moving and heartfelt story of a beloved man losing heart and hope at Christmas. He is saved, in part, by Clarence - his guardian angel - and in part by his love for his family, his friends, and the people he impacted throughout his selfless – and wonderful - life. The film paints a picture of a community touched by George’s kindness, as he struggles against the self-serving, capitalist villain Mr Potter. The idea of placing this story and community inside the walls of a theatre is a brilliant one; this is a perfectly festive play to see during the run-up to Christmas.
The writer of the play, Mary Elliott Nelson, excels in translating this story from screen to stage. Here, it is impossible to rely so heavily on voiceover - as in the film - so instead we witness an introduction to each new chapter of the story, delivered by characters who are – during the present-day timeline, on a fateful Christmas Eve night - praying for George Bailey’s happiness. These moments give some exposition to the scenes that follow. Then, we have the angels (who are, in the film, mostly just voices emanating from the stars) becoming present and active; Clarence, George’s guardian angel, is frequently seen onstage before he officially arrives to help George during his moment of crisis. During the recap of George’s life (so that Clarence, and the audience, can understand George’s current predicament), Clarence can be seen onstage, watching and commenting on these memories and key moments from George Bailey’s life. These elements help to structure the play, providing a solid theatrical framework in which the story can flourish.
Adaptation also necessitates some cuts, which fans of the film may or may not notice (depending on their attachment to the 1946 classic). The absence of children is the most noticeable loss. Child actors, in the film, perform as young versions of the central characters, and as George’s children later in his life. Part of the child-version-of-George’s appeal is his kindness and righteousness despite his youthful naivety; in one of the most emotive sequences, he struggles to know how to do the right thing for Mr Gower (the pharmacist) and so tries to appeal to his father for help. This innocence transforms into desperation, and eventually falls away to a life-saving decision made of his own accord; George Bailey is wise and good in his youthfulness, and this can’t quite be captured by the play’s adult actors playing youthfulness (as they do in the play). Later, George’s children – and his interactions with them - are also missed. They are technically still present in the story, but they remain unseen. And yet, it is unavoidably true that this production has done its best with these necessary losses. These cuts, while a shame - for audience members familiar with the film – do not negate the play’s other successes.
Speaking of successes, the use of song was a lovely inclusion – the gentle, lilting voices (with original music by Florence King, who also plays a brilliant Mary) felt perfectly at home in this festive story, amongst the soft, falling snow. King’s voice merged particularly well with Rachel McGrath, Faye Griffiths, and Sienna Morris, who sounded beautiful singing together. Music is also part of the play’s perfect finale, chiming out – through the tears – in a celebration of community, friendship, and kindness.
This community was carried wonderfully by the cast, most of whom took on multiple roles. Taona Matope brought an infectious brightness to his characters – particularly to Mr Martini, whose warmth was tangible - and Josh Ennis’s Uncle Billy was the perfect balance of desperate and endearing. Robbie Fletcher-Hill, as George, undoubtedly has a lot to carry on his shoulders. His version of George seemed angrier and more bitter than James Stewart’s version, especially when snapping at Mary near the end. But, Fletcher-Hill is at the centre of the play, and he wields this power well. In the film, George is the reason we all cry at the end, and here, Fletcher-Hill’s George achieves the same result (at least, for anyone with a heart).
It is a brave decision to go up against a film that is considered by many (…or maybe just by this reviewer) to be a perfect one. But live theatre can bring a unique energy to a story; an audience is filled with people – strangers, friends, family - and to be crying, laughing, or singing alongside them is a beautiful – wonderful - thing. A placard at the top of the stage welcomes us all into Bedford Falls, and these touches – the sign over the bar saying ‘Martini’s’, as another example – truly make this show an experience, rather than spectated entertainment. This is what live theatre can do: take a story that is already magical and moving, and turn it into something shared and - wonderfully – alive.
It's A Wonderful Life is playing a sold-out run at Liverpool’s Royal Court until November 30th, before transferring to St George’s Hall between 10th and 13th December. Click here for more information, and click here for tickets for the St George’s Hall run.
★★★★☆ (4*)
