This might sound odd, but I am about to recommend a play overwhelmingly concerned with the British weather. Pressure is written by and stars the estimable David Haig and tells the story of meteorologist Dr James Stagg, the man responsible for predicting the weather for the D-Day landings. The thrust of the drama is whether Stagg can convince Eisenhower to postpone based on his stormy predictions. He freely admits his forecasts are a matter of informed guesswork… just better informed guesswork than the altmoded modelling system the Yanks are using by comparison.

The premise might seem like a hard-sell but it does, believe it or not, make for a riveting watch. Those familiar with Haig’s previous writing-and-acting escapades will be assured that this is up to the standard of My Boy Jack, though has a much tighter focus with the drama contained to a few days. I think the pivotal aspect that makes this notionally dry subject matter a success is that Pressure doesn’t dumb down. All too often dramas will dismiss the niche aspects of an event to present a far more bland and generic story because this is deemed more ‘relatable’. Never mind that this niche aspect is the distinguishing factor of events, fabricated or embellished relationships bulk out the proceedings. Here, Pressure makes its esoteric topic the focus. I wouldn’t claim to be well-versed in weather patterns now, but I certainly left better informed. Treating its audience intelligently is what gives it an edge.

Saying that Pressure succeeds as an informative piece is not to baulk at its achievements in depicting the people and relationships involved though. The frustrated attempts by the brusque Scotsman Stagg to explain to the layman Eisenhower how weather is predicted are used to inform their characters, dynamic and the stakes as much as technical details. We can see how Stagg’s methodical and scientific manner makes him perfect for being a weatherman but contributes to his difficult personality. Eisenhower is determined to march ahead but what emerges is that his responsibility to the men under his command is his driving motivation. The other key point of the dramatic triangle is Kay Summersby, Eisenhower’s secretary and long-speculated lover. She is responsible for the logistical and emotional maintenance of Stagg and the General alike. Summersby keeps the Allied Command functioning and makes sure no one is overcome by the burden of so many lives resting on their shoulders.

It will come as no surprise that Haig is on point as Stagg. There’s much to harp on about in his depiction of a rather forthright gentlemen, though what I was struck by was how easily Haig subtly conveys that Stagg is out of his depth surrounded by military men. He has a very different way of moving to Eisenhower, Summersby and the other Allied officers who all have a very drilled demeanour. Eisenhower is brought to life by the ever reliable Malcolm Sinclair. We see the General with all of his bluster and authority, but Sinclair easily moves from this to quieter move contemplative moments with Kay, and his fraught exasperation and worry over whether or not he will simply be able to cross the Channel. Laura Rogers arguably has the hardest job since Summersby is not a pivotal decision-maker in the course of the action like Stagg or Eisenhower, but she holds the limelight just as well as Haig or Sinclair. She, as much as Haig’s Stagg, is making a great case for the unsung logistical heroes of the war effort.   ★★★★☆    Fenton Coulthurst at the Everyman in Cheltenham   7^th March 2018