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★★★★
Over the Christmas period, the Garlinge Theatre Repertory Company presented their inaugural production, Mary Elliott Nelson’s adaptation of the hit film ‘It’s a Wonderful Life’ at the venue for three performances. This version sees four actors take on the 1940’s classic, which has been widely associated with Christmas since it was first released. Even though I was aware of it being an intimate production in advance, there was something so clever about the multi-role format and rapid costume changes, that you quickly got lost in the world of Bedford Falls and began to believe that there were many more performers on stage. With direction by Andrew Slade, this is an exciting debut from the company.
Screen to stage
For those unfamiliar, the narrative follows the discouraged George Bailey, who is at a crossroads in his life and considering suicide on Christmas Eve. George’s loved ones ask God to look out for him, and it leads to the angel apprentice Clarissa (Clarence in the film) attempting to rescue the character in the style of ‘A Christmas Carol’, showing him what life would be like if he hadn’t been born. Whilst it goes without saying the film is one of the greats, my biggest issue with the source material was how much time was spent establishing George’s life and childhood, before Clarence finally visits him by the bridge. The shorter running time for this stage adaptation resolves this and consequently the narrative is even more palatable. It also stays very true to the original, including many of the quotes that the film is known for, so longtime fans will find this version very nostalgic.
Multi-role format
The format of this adaptation means that the actors range from playing one to six characters each. With George central to the narrative, Amy Floyd is supported in the principal role by three actors playing multiple roles: Olivia Polley, Alison Harris and Lexi Wolfe. To make the story feel cohesive, the performers have to rapidly switch between completely contrasting personalities, from the angels to the lively citizens of Bedford Falls, and it is particularly impressive how they manage this with limited costume changes. A stand out is Alison Harris in the roles of Sam and Uncle Billy, bringing warmth and humour to the production.
Staging and transitions
Andrew Slade’s vision for Bedford Falls authentically takes audiences back in time, with the visual design reflective of the early 20th-century time period. It extends beyond the boundaries of the stage, even moving some of the action to the floor space in front of the seating. Central set pieces are the bridge where George Bailey contemplates his life and the Bailey Brothers Building and Loan desk.
It goes without saying that the transitions are commendable, especially when the actors are involved in consecutive scenes and they have to enter and exit from different locations. However, I did feel at times that the action took place across too much of the auditorium and in act two the performers were sometimes covering a vast amount of distance between scenes. This created some lulls in the continuity of the piece, which really wows when it’s presented in a more intimate, quick-fire format.
A strong interpretation of the festive classic
That being said, I thoroughly enjoyed this version of ‘It’s a Wonderful Life’, which is a festive delight for all ages. To think that this was created in just 10 rehearsals, is nothing short of mindblowing. I can only imagine what the company would be able to do with even more time. ‘It’s a Wonderful Life’ has now finished performances at the venue, but you can find out more about the Repertory Company’s upcoming season via their social media. The creative team teased some exciting announcements at the end of the performance.
*My ticket for ‘It’s a Wonderful Life’ was gifted in exchange for an unbiased review.
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