Given that new generations will always have tales to tell and an urge to tell them, emerging artists and new plays should be in abundance for centuries to come. However, with this comes the risk that old stories will be forgotten, set in archaic periods about dilemmas that are only relevant to audiences that are long dead and gone. Yet by adapting these stories, we can bring new life into them, keeping them relevant and very much alive for the current generation. Kneehigh’s Brief Encounter shows how this can be done in an effective and exciting way.

The story of Brief Encounter comes from Noël Coward’s 1936 one-act play Still Life, and revolves around an affair between a doctor and a house wife. After meeting by chance as strangers at a train station, their relationship begins to build as their love for one another blossoms into a powerful romance. Although the source material may be over eighty years old, Emma Rice’s adaption brings a freshness to the story that allows her creative vision to spread its wings.

Given that the tale is rather simplistic at its core, it would be so easy to create a dull and lifeless adaption. But with the marvellous blend of music, movement, and playfulness, Kneehigh’s iconic style makes the piece sparkle. Turning mundane tasks into rhythmic moments is incredibly satisfying to watch, and is in many ways similar to the cinematic approach Edgar Wright takes with several of his scenes. The magic that Kneehigh bring to the stage is nothing short of directorial brilliance.

As an ensemble, the cast worked together wonderfully. Whenever they were on stage, whether acting or playing an instrument, they always immersed themselves in the action of the scene, which made the Brechtian touches even more effective as they pierced through. Shifting between roles, the cast were able to form distinct characterisations that showcased the acting talent of the cast, alongside their superb musicianship.

Sadly, the concentration of creativity is rather uneven in the piece, leading to a point that the piece began to drag. It was as if the creativity has nearly run dry, and every last drop was being saved for the final moments of the play. As the adaption was being revived after more than ten years, I would be interested to see what changes were made since the original run.

Yet despite its various flaws, nothing stopped it being thoroughly enjoyable. Far too many productions coast on the script and the actors, with little or no originality going into the direction; which is why Rice’s energetic, jovial choices make her an exceptional director, and makes her productions so fascinating to watch. Without her vision, without her musical cast, this show simply wouldn’t be the spectacle it is.      ★★★★☆   Jeremy Ulster    7^th February 2018