It’s A Wonderful Life

Feel Good

It’s A Wonderful Life

adapted by Mary Elliott Nelson from the film by Frank Capra, after Philip Van Doren Stern

Reading Rep Theatre, Reading until 30^th December

Review by Sam Martin

Reading Rep have done it again with a brilliant adaptation of a classic.  This time, It’s a Wonderful Life captures the sentiment of the original film with a satisfying and heart-warming four-hander.

The set design (Libby Todd) captures the cosiness of small-town America as well as a distinct nod to Christmas and its relative traditions.  The arched framing of the stage, which mirrors the snow globe-like ornaments, the Guardian Angels, is used to see into our protagonist’s memories.  This magical symbolism reminds us of the nostalgia the audience might associate with the story, as well as providing a lens for the audience to peer into the life of George Bailey, a down on his luck banker who has forgone his personal dreams so that he can help others.

Paul Stacey and Chris Cuming’s direction is playful, but poignant.   They magically transport the audience into a fantastical world, yet ground us, and provides a sense of security through our hosts and narrators, the Angels.  The clever use of the snow-globe ornament provides power over time and space, allowing us to skip through George’s life to understand his devastating decision.   Their storytelling has clarity, warmth and precision and is especially effective as we dance between George’s life and their narration, freezing key moments in time to highlight his highs and lows. 

The play unfolds with slick multi-roleing from the small cast, effortlessly pivoting between several characters, over decades of their lives.   Orla O’Sullivan, as Mary and Angel Clarissa, is captivating in both roles, and there is a genuine chemistry between Mary and George as they fall in love and find a life together.   Charlotte Warner deftly moves between multiple characters, sometimes with dizzying pace, but is especially engaging and endearing as Aunt Dilly. 

Eugene Evans also demonstrates his range moving between multiple characters, and I admit at times I held my breath wondering if he’d make it off and back on in time for his next line!   Although on a few occasions those transitioning segments did feel a few moments too long, nothing was missed, and the characterisation was consistently confident and certain. 

Lastly, Mark Desebrock as George pulled the production together; with more than a few nods to A Christmas Carol’s transformation of Scrooge, Desebrock’s George painted a sorrowful landscape of his unfulfilled dreams and the degradation of his ambitions due to his loyalty to the loan shop and his family.   The contrast in his delighted and thankful persona at the end, having seen what life could be like without him in it, was pitched perfectly to counter the gravity of his despair when faced with the realities of letting his family down. 

The play matches Frank Capra’s 1946 film is many ways, with a few adjustments to characters to accommodate the ensemble cast; if you are a fan of the film, you won’t be disappointed as there is a comforting familiarity.  However, the play works brilliantly in its own right, and the charming direction supports the sentiment of being grateful for family, friends, and community.  A perfect antidote to a cold winter’s evening with a feel-good ending that is full of the Christmas spirit!

Sam Martin, December 2023

Photography by Harry Elletson