Paul Couch
When movie director Frank Capra produced his James Stewart vehicle in 1946, he could have had little notion of what a classic it would become.
Indeed, Hal Roach Studios made the first of three moves to colourise it in 1986 and there was outrage for, by that time, It's A Wonderful Life had gained iconic status - a staple of American culture - and something not to be tampered with.
When Ipswich New Wolsey Theatre announced plans to stage a musical version of the timeless tale, the news was greeted with a mixture of delight and concern from many quarters. However, those of us who feared the worse have been put firmly in our place by a riveting and charming piece of theatrical Americana, with a score that pays more than a hint of homage to musical grand master Stephen Sondheim.
While It's A Wonderful Life is sympathetic to its cinematic antecedent, it's no clone and has a spine-tingling charisma all of its own.
The story of a man with dreams beyond the limits of his small-town existence remains the same. Here, Paul Thornley plays with intense conviction the central character, George Bailey, whose life is turned around when he meets his guardian angel. As George slips into despair, the angel shows him what life would have been like for George's friends and family had he never been born.
Jo Servi gives us a rather more sinister Angel Clarence than we're used to but his performance is exemplary.
Too numerous to name individually, the 24-strong cast, including seven local children, give exquisite performances, but special mention must be made of Harry Salter, who played the young George Bailey like a veteran actor.
Libby Watson's simple set, dominated by a multi-functional bridge, allows the large cast ample freedom to recreate the story of George's downfall at the hands of the villainous Henry Potter and his ultimate redemption.
But it's Steve Brown's score that has caused the most controversy. Semi-operatic in design, Brown's numbers may not be to everyone's taste. However, they are undeniably clever, intricate and a fresh departure from the sort of saccharine-coated, formulaic fodder currently inflicting musical theatre.
New Wolsey Artistic Director Peter Rowe has brought out the very best from a strong script and a hugely talented cast. Audiences have until October 3rd to catch this early Christmas present.