Philip Van Doreen Stern’s story The Greatest Gift formed the basis for Frank Capra’s 1946 classic piece of filmic Christmas whimsy IT’S A WONDERFUL LIFE containing James Stewart’s searing portrayal of a small town American family man, who feels trapped in a humdrum existence and considers suicide on Christmas Eve. The movie has been beloved by generations, but does it make a good subject for operatic treatment?
ENO 22-23, It’s a Wonderful Life, Donovan Singletary, Ronald Samm, Frederick Ballentine, Danielle de Niese © Lloyd Winters
US soldiers stationed at Hawaii during the Second World War, pace the barracks growling like caged tigers due to the lack of anything to occupy them — aside from posturing, banter and press-ups in readiness for a boxing tournament. Soon will come Japan’s calculated surprise attack on Pearl Harbour, but before then, there’s a fair chunk of James Jones’ 1951 story to get through. The burning question, is will audiences be sufficiently engaged by the characters in this musical, to care what happens to them by the time the devastating aerial attack is delivered?
