By Ben Sharratt
With its despised banker and background of economic volatility, there was rarely going to be a more apt moment to launch the world premiere musical stage adaptation of It's a Wonderful Life. The question was could the travails of honourable George Bailey be given musical life without cloying sentimentality ruining the show's rhythm?
The answer is a pretty resounding yes. Naturally there is much here for those who love a good weep - few notes in Steve Brown's score, under the musical direction of Dane Preece, leave the heartstrings untugged - but there is also an uncompromising directness to this adaptation, reflected in the lyrical and character interplay, which gives it a satisfying balance.
Paul Thornley, who plays our ordinary hero, is Jimmy Stewart on Red Bull, and thoroughly watchable for it. From his suicidal dalliances on the bridge - the scenery's poignant centrepiece - to salvation in the arms of his family, Thornley busts a gut on the journey along every emotional peak and trough. Excellent casting, and the same goes for Jo Servi, bright as a button as guardian angel Ace, and Paul Leonard as unbending banker Mr Potter. In Act II, where the tunes start to sound a little samey, it is Leonard's deliciously monstrous vocal expression that hoists the show back on track.
Helen Anker, as George's wife Mary, sings beautifully, as does Kerry Washington as Mother Bailey. And Tony Stansfield's passionate portrayal of flawed drugstore boss Mr Gower is a gem.
While there are suitably wintry technical and lighting tricks in abundance, dazzling dance routines are in curiously short supply. Apart from some hot twenties steps early on, most routines are tight rather than novel, and this area could so with some development to match the best of the other elements.
The negative criticism ends there, however - it is silly to argue with yet another of this run's standing ovations.