The novel Catch 22 is clever with plenty of talking points; it is everything an English Literature student wants from a novel. But the best novels don’t always adapt too well on stage, and with the magnitude of Catch 22 it is commendable that Northern Stage and director Rachel Chavkin have attempted something few have dared before in staging Heller’s own adaptation of the modern classic novel.

Set in WWII, based on Heller’s own experience flying combat missions with the 12th US Airforce in the Mediterranean, we follow the bombardier Yossarian and his struggles to cope with the war. His attempts to escape are met with impossible situations in a mad and corrupt world of which he is unable to get out of – hence the use of the term ‘Catch 22’ which has since been in common use to describe a paradoxical situation from which one cannot escape.

The production is both tragic and humorous at the same time, the acting is splendid and the witty exchanges between characters help achieve light and shade within the performance. But the simple and complex plot seems to be a hindrance as well as its defining feature – At 3 hours 10 minutes (including one interval) the play just feels too long, especially for those not familiar with the novel, and could do with a deal of tightening with a plot that has no major epic events so to speak of.

Jon Bausor’s set is certainly striking, a hollowed out bomber occupying the performance space with draws our attention maybe a little too much for the plays own good. Although not a major issue the fact it takes up the majority of the stage also means the actors are forced to duck, dive and jump around it taking away a certain amount of mobility at times.

Phillip Arditti plays Yossarian and barely leaves the stage within an assured performance. His performance is the gel that makes the rest of the piece work, his restraint and truthfulness really uncovering the crazy world around him.

The rest of the company all play a number of characters each, and all fair brilliantly, with often a very prompt turnaround and very little visual transformation. Particular highlights are Geoff Arnold’s compelling Chaplain and Michael Hodgson’s big, pompous Colonel Cathcart.

It is bold and imaginative direction from Rachel Chavkin, with some very insightful moments within the performance, the atmosphere created is authentic of the period and highly believable. Credit must also go to Samantha Dye, the dialect coach. The various accents used are both authentic and consistent throughout, the distinction between accents help with tremendously with the amount of multi-role playing going on.

The comedic timing is a joy to behold, perfectly contrasting the plays darker moments and allowing them to fully settle in. The cast achieve a pace and energy to the performance that doesn’t seem to drop at any point.

However good one still feels the running time is an issue – it’s gripping to watch and a great evening’s entertainment, but I feel there is certainly more scope to be explored in a slightly more condensed version of the script. Perhaps the issue with Heller making the adaptation himself was that he was reluctant to make certain cuts and perhaps somebody else re-visiting the play could achieve this.  ★★★★☆ Sam Chipman