John Finnemore’s Cabin Pressure has been a highlight of the Radio 4 schedule from its first episode, Abu Dhabi, in 2008 to the emotional final, Zurich, broadcast last Christmas. Its great success and much-admired script meant that little could go too wrong with a stage adaptation. Indeed, one felt from the start that this was an experience that was supposed to be comfortable to that part of us which is accustomed to being soothed by Radio 4, as though it were an open fire or a labrador: the theme from The Archers was played on the loudspeaker, the pips were pipped (an order deeply troubling to any pedant who happened to be present), and then the overture from Ruslan and Lyudmila swept in and faded back to an introduction designed to sound just like the wireless. The charm was undeniable. But it sent a troubling message that this show was never going to be more than an imitation of the original, with which it could never have competed.

Many a challenge is posed by the adaptation of a radio programme to the stage: different senses are brought into play, familiar voices are displaced by new actors, and a structure composed of episodes and series is hammered into the shape of a single evening’s entertainment. The adaptation was by and large taken from two episodes, Gdańsk and Xinzhou, with extracts from sundry others interspersed at certain points. Those who have picked up on the fact that the episode titles proceed alphabetically will have noticed that these two episodes are separated by quite a number of hours, time in which the characters and the broader arches of the plot are developed. This play, unfortunately, was not adapted with sufficient imagination to compress this development into such a short period of time, and there were noticeable loose ends and unresolved fragments, which could very well be confusing.

Visually, the play was highly successful. The set compressed the flight deck of an aeroplane on to an inconvenient stage, replete with buttons, flashing lights and pleasing visual allusions to other episodes which was quite a triumph. The costumes were convincing, and featured a splendid array of hats.

The acting, once one managed a bit of mental recasting, was compelling, with a consistent sense of comic timing and an admirable subtlety of characterisation. Max Maher, to give but one example, has developed an impressive self-assured drawl, as befits his character, Douglas Richardson. The comedic capabilities of the cast were ever patent, and Declan Amphlett’s improvised response to an audience member scuttling awkwardly across stage to the lavatory was a memorable instance. Also worthy of particular note was Rebecca Cusack’s storming performance as paranoid bassoonist, Madame Szyszko-Bohusz.

Cabin Pressure will provide an entertaining evening for all those who watch it; whether they would be more satisfied by listening to the original is rather more open to doubt.