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The Stage Adaptation of a Timeless Story This story spans a week in the life of a couple approaching their 45th wedding anniversary. As Kate (Geraldine James) manages the preparations, Geoff (Gabriel Byrne) receives a letter about a formative ex-girlfriend who died falling into a crevasse on the Swiss Alps more than 50 years ago. Adapting Emotion through Spare, Evocative Economy David Constantine’s short story turned film is a quiet and delicate thing. So much of its emotion happens in the unspoken moments and silent revelations. What a tricky business to transpose this to the stage, so it is impressive that Hannah Patterson adapts with such spare, evocative economy. A Delicate Theatrical Chamber Piece It is a treat to see Byrne on stage too, even when he stutters or stalls over his lines. He makes a more irascible and intense Geoff than Tom Courtenay from Andrew Haigh’s 2015 film. James gives a more contained and quizzical performance as Kate but there is resonance, not least because she played the part of Kate’s friend Lena in the film. Theatricality in a Domestic Story Director Prasanna Puwanarajah infuses this understated, rather domestic story with theatricality. It is staged in a living room with a single dresser and two chairs, but becomes more symbolic and surreal, artfully turning into the loft in which Geoff has stashed the memories, and images, of Katya. A Lovely, Gem-like Delicacy It amounts to a lovely theatrical chamber piece with a gem-like delicacy. It does not quite develop in its emotional devastation but intrigues and makes you think about the passing of youth, the secrets and illusions in a long-term marriage but also the love that is here, real and solid, versus the memory of a former (greater?) love that is forever young, forever dead.