When Michael Powell and Emeric Pressburger were given the task of producing the final propaganda film of World War 2, they had the resources to throw every trick in the cinematic book at their project.
The outcome – A Matter of Life and Death – is renowned as a classic of British film and one of the greatest romances of all time. So how can this be translated to a theatre in the round?
The answer – when in the hands of Theresa Heskins and her creative team – is magnificently. The New Vic production is an absolute triumph that hit all theatrical heights and drew a fully deserved standing ovation.
Peter (Thomas Dennis) is taking part in the final bombing mission of the war and his 67th sortie is due to end in disaster. His crew has been forced to evacuate after severe damage to the aircraft and Peter knows that the end is at hand as his parachute is unusable. He is hopefully being guided home by June (Kaylah Copeland) and pours his heart out to her before jumping from the stricken plane.
Peter is shocked to wake up on the beach after his fall and comes across June on her way home from work. The love is instant but causes pandemonium in Heaven. Peter was due to end his time on Earth but was missed by his guide due to the weather conditions.
Conductor 71 (Michael Hugo) is despatched to our world to escort Peter to the afterlife he should now have entered but is met by resistance from the pilot. He has fallen deeply in love and, in his mind, deserves to have his allotted time extended.
June enlists local psychiatrist Doc Reeves (Polly Lister) to help as Peter suffers “hallucinations” due to regular visits from the Conductor but there is consternation in Heaven. Humans do not live beyond their allotted time. So, what is the reaction to Peter’s appeal
There is good news and bad news for the Conductor to convey to Peter. The Judge (Alexander Bean) has granted that the appeal will be heard but the Prosecuting Counsel Abraham Farlan (Morgan Burgess) hates all things English and the outcome of the appeal is almost a foregone conclusion. Who will defend Peter? And will the love between June and Peter be wrenched apart?
The play provides Heskins the opportunity to prove that she is a Director at the top of her game and she is surrounded by a highly skilled Creative Team. Laura McEwen has done so well to provide a set that emphasises the contrast between 1940s Earth and the Afterworld and she has cleverly overcome the problem of providing a stairway to Heaven. Simple but very effective.
Alexandra Stafford has done an excellent job as Lighting Designer and Beverley Norris-Edmunds’ work as Movement Director is notable particularly when the Conductor is able to pause time.
The masterstroke is the addition of a swing band under the Direction of Tayo Akinbode and Howard Gray. The music is beautifully performed and adds hugely to the atmosphere. There is a delightful contrast between the monochrome of Heaven and the colour and vibrancy of life on Earth.
All of this gives a superb ambience for the actors to perform in. A great piece of theatre deserves a great cast and this is exactly what the audience is entertained by.
Hugo never gives a bad performance and brings a smooth sense of humour to his part. Lister is perfect as a doctor and advocate and there is lovely chemistry between Copeland and Dennis. All cast members performed well to add to the experience and bring real pleasure to the audience.
A Matter of Life and Death proves to the world that life on Earth is vibrant and well worth fighting for. This production is a visual and aural delight and is an absolute must-see. Grab the chance to see it before the Conductor takes it to the theatre in the sky when its allotted time is up.
A Matter of Life and Death continues until April 19th and has a running time of approximately 2 hours 10 minutes including interval. For ticket information contact 01782 717962 or tickets@newvictheatre.org
