How do you portray the differences between life in this world and the next? When Michael Powell and Emeric Pressburger made their 1946 film A Matter of Life and Death, the scenes set in the afterlife were in black and white. That contrasted starkly with the vibrant colours of the earthly settings.
Transferring that to the theatre could be difficult for some venues. But the New Vic has never shied away from putting on plays which have been described as impossible to stage, and A Matter of Life and Death falls into that category.
Getting characters from earth to heaven could be insurmountable, but the New Vic pulls it off spectacularly.
The theatre’s artistic director, Theresa Heskins, who adapts and directs A Matter of Life and Death,turned to Laura McEwen, who admitted in the programme that the design was nothing like she’d made before.
She worked with lighting designer Alexandra Stafford to produce stunning effects with a revolving stage which climax with an ingenious stairway to heaven, which brings admiring gasps from the audience.
A Matter of Life and Death is set in 1945 and features Royal Air Force pilot Peter flying a damaged Lancaster bomber back from a raid in Germany. He has to bail out without a parachute and expects to die. June, a radio operator at a United States air force base, picks up his transmissions.
Peter should die, but Conductor 71, the guide sent to escort him to the other side, misses him in thick fog over the English channel. Peter meets June, who is cycling back to her quarters after her night shift, and they fall in love.
Conductor 71 urges Peter to accept his death and accompany him to the other side. But Peter demands an appeal and has to convince the High Court that love can conquer all.
This is said to be only the second ever stage version of A Matter of Life and Death. One of the successes of this production is a ten-piece live band playing some of the most recognisable songs of the 1940s. Accomplished musicians wearing khaki army uniforms belt out standards including “Boogie Woogie Bugle Boy”, “In the Mood” and, significantly, “We Have All the Time in the World”.
However, this should not detract from the acting, which is solidly impressive.
Thomas Dennis, who gave a strong performance as Aramis in the New Vic’s production of The Three Musketeers in 2024, is commendable as Peter. He makes credible arguments for remaining on earth, and the audience wants him to win his case.
Kaylah Copeland makes her New Vic debut and gives a terrific display as June. Her love and concern for Peter are spotless.
Whenever Michael Hugo and Polly Lister are on the cast list, you know you are going to see excellent renditions. Hugo is outstanding as Conductor 71, an effete French dandy who is indifferent about having mislaid Peter on his way to the other side. Lister excels as the motorbike-riding Doc Reeves who tries to make sense of Peter’s incredible predicament.
This New Vic production of A Matter of Life and Death proves that with creativity and determination, almost anything can be portrayed on stage. I wouldn’t describe A Matter of Life and Death as out of this world, although it comes fairly close.