Every single human must have had a whiff of "it doesn't make a difference if I'm alive or dead" in their internal monologue, as well as the crueller "it's better if I'm dead than alive". Despair is the universal visitor whose always-unwelcome presence is rarely discussed at house parties. For some of us, it comes to visit occasionally, and eventually has a permanent toothbrush in our bathroom. For some others, the visits are fleeting but frequent, and others still are fortunate enough to meet Despair so rarely that it seems to be a stranger every time.
What makes IT'S A WONDERFUL LIFE resonate universally - the play has been adapted by Mary Elliott Nelson from the critically acclaimed 1946 Frank Capra film, which in turn was adapted from a 1943 short story by Philip Van Doren Stern, which is based on Dickens' A Christmas Carol - is how familiar each of us is with despair at some point in our life. It also goes to show how powerful the form of this piece has, as potential, and the challenge that is ahead for the team.
When small-town banker George Bailey discovers he is more useful monetarily to his family dead than alive, his guardian angel has him look at the difference him being alive has made. Beginning at the end, when Bailey is going to jump off a bridge, the story goes back to the start as his guardian angel tries to get to know him better. In the world of the play, you cannot understand someone's struggle without knowing its cause, and so we enter and meander through the life and experiences that got Bailey to where he stood at the beginning of the play. This is a story that values compassion, community, and doing the "right" thing, whilst holding a mirror to the changing priorities in society.
The play begins on Christmas Eve in 1946, in a small town called Bedford Falls in America. The set-design (Machhindra Shinde) takes us straight to the middle of Bailey's world as his bank counter takes centrestage, around which all the action unfolds; the bridge from which he seeks to jump looms in the background; and everything beyond Bedford Falls is heard about from under the bridge. The costume design (Pallavi Patel) is our primary visual cue for the time-line of the world we've entered, and is on-point with its attention to detail. The fashion of the 40s is showcased via every character, especially Violet and Mary who seem Veronica and Betty-esque. The light (Yael Crishna) and sound (Varrunn Bangera) design are seamlessly in service of the story, alternating between supporting the scene and blending in to highlight the performances themselves.
The people of Bedford Falls are a pleasure to watch on stage - though the graduation party would be even more enjoyable after more time has lapsed and dancing lessons taken - with many of them playing multiple characters with great gusto, and Mr. Potter (Akarsh Khurana) gives off just-right villain-esque vibes. The performance that holds the play together though is that of the guardian angel Clarissa essayed by Dilshad Edibam. From the start Edibam's energy informs the way we receive the story as well as other characters, and we ride the roller coaster of emotions with her, as she swoops from delight to distraught. Adding sparkle to the stage is Prerna Chawla's energy and stage presence that is specifically moulded for every character. From the lovelorn Violet to the magnanimous Mrs. Martini, Chawla takes the characters essayed, beyond the costumes.
Capra's 1946 film was released the same year as Miller's play All My Sons with similar themes of the market and its values, headbutting with the human and their intrinsic value, albeit in a completely different tone. It feels counterintuitive that in a world even more mired in complexities, constantly at war trying to prove the value of intrinsic human life, we still choose to tell stories positioned to perpetuate the messaging that the value of a person is directly proportional to what use they are to other people, their guardian angel included.
Then again, the holidays are perhaps not the best time to navigate nuance, so catch this play for a festive feel-good belly rub for the entire family, the excellent performances by Dilshad Edibam and Prerna Chawla, the well-crafted stage and costume design, and the relief from knowing there was a time when it was simply enough to have friends who would show up in times of need, just as you did.
Bhagi R finds joy in contemplating, examining, and working in the space between artists and audiences.
