As a lifelong diehard Powell and Pressburger fan, A Matter Of Life And Death has to be one of my favourite British films, second only to Powell and Pressburger’s 1943 epic, The Life And Death Of Colonel Blimp. So it was understandable, although admittedly unfair that I went into the Paul McCartney Auditorium to watch the Liverpool Institute of Performing Arts (LIPA) third year student’s theatrical amateur production of the National Theatre’s adaptation of A Matter of Life And Death with bated breath and a degree of curiosity.
For those who are unaware of what the film and play are about, A Matter Of Life And Death is a fantasy/ romance which concerns two star-crossed lovers set amongst the backdrop of the Second World War. A British bomber pilot, Peter, falls in love with an American radio operator, June, when he believes that he is to die over the English Channel. However he survives and what unfolds is a fantastical mystery and love story involving other worldly beings, literature and table tennis; culminating in one of cinema’s most iconic final scenes… and to the credit of LIPA’s third year students, this is not lost in their production.
James Baker, the director, boldly states in the programme that Emma Rice and Tim Morris’s adaptation is “… equally as surreal, if not more enchanting and magical for its pure visceral writing…” However in the words of Peter to Conductor 71, “Some other time” perhaps?
While the performances were mostly excellent, special credit must be given to Greg Jones and Julie St. James who played Peter and June respectively. Their chemistry was just as good as David Niven and Kim Hunter, and they successfully pulled the audience into the story. However their performances and the more serious tones of the story were undermined by the numerous out of place comedic scenes and characters that plagued the play.
Having not seen the National Theatre’s production of the play, it is hard to tell just what changes were made in terms of characters and plot. The theme of Anglo-US relations is played down in this production. There were some new characters and certain references had been updated to appear more relevant, which for the most part I was fine with. However I must vent my disapproval at Conductor 71 being changed from a French aristocrat and victim of the French Revolution to a fumbling, bumbling Bulgarian(?) magician, whose mugging to the audience and hammed up performance played for laughs which unfortunately set a precedent for the rest of the pay, and left myself and other audience members who were familiar with the film wincing and cringing in anticipation for the scenes in which he appeared. Although the new Conductor 71 was popular amongst the younger members of the audience (the same members who thought it was hilarious to keep the opening actor waiting by shushing for a good four minutes once the lights went down and the curtain up), there was a less warm reception from the older members in the auditorium.
Nevertheless, the pros outweighed the cons. Silly comedy scenes and mop end puppet dogs aside, the sets, lighting and props were exceptionally well done. In true RAF style, I salute James Matthews, and Georgia Wren (lighting designer and assistant), and Ellie Light and Abigail McDermott (set designer and assistant). Actually, I salute all of the production team for their efforts in giving the play some verisimilitude. The earthly round set which doubled for rural England, the English Channel, and the court of the Other World, was used to its full advantage by the actors.
There are a number of ways to think of and review this production of A Matter Of Life And Death. Does one compare it to the original film? Does one view it just as a theatrical production? LIPA’s production seems to view itself purely as a play, and they have good reason to. It is certainly a monumental task, like moving the heavens itself to try and out-do two of the best film auteurs to have ever graced the industry. None of the actors tried to imitate Niven, Hunter, Goring, or Livesey, and in that aspect it is a 10/10 on originality. Overall however, there was a clear divide between the older and younger audience members. It is clear that this was made purely to appeal to the younger theatre goer, although that is not to say that it was without its snippets of nostalgia and sentiment for the older people in the audience. What the third year students had ensured was that Powell and Pressburger remain relevant to newer generations. While certain elements may rub raw and scenes go on for that little bit too long, I must say it was ultimately a pleasant experience. If you are a fan of the film and were expecting a line for line remake, then you would have been sorely mistaken, but pleasantly surprised. However if you were looking for a play to take the children to, there is enough for yourself and them to enjoy, making A Matter Of Life And Death a must see.
Reviewer - Daryl Griffin
on - 21/3/19
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