REVIEW: It’s A Wonderful Life: A Live Radio Play (NobleFool)

  
  

If you love the movie, you’ll adore the play

  
  

George Keating, Emily Leahy, and Anna Hammonds

   
   
Noble Fool Theatricals presents
    
It’s a Wonderful Life: A Live Radio Play
        

Adapted by
Joe Landry
from screenplay by
Goodrich, Hackett, Capra, Swerling
Directed by Rachel Rockwell
Pheasant Run Resort, 4051 E. Main, St. Charles (map)
Through Dec. 26  | 
tickets: $29.50–39.50  |  more info

Reviewed by Leah A. Zeldes

Frank Capra’s 1946 film, "It’s a Wonderful Life," starring James Stewart, tends to provoke extremes of reaction.

Like the movie, It’s a Wonderful Life: A Live Radio Play offers upbeat, family-friendly Christmas entertainment, in which you can count on a happy ending. If you adore the original, you’ll likely feel the same about the perfectly sweet production at Noble Fool Theatricals in St. Charles. If the movie gives you the bah humbugs, nothing about this live version — which, if anything, amps up the cuteness — will change your mind.

(From left) Jessie Fisher, George Keating and Anna HammondsOf course, there’s no suspense left whatsoever. Except for his one lapse into despair, George remains saintly and forbearing; Mr. Potter remains money-grubbing and evil-minded; and Angel Second Class Clarence still twinkles.

This 1996 stage adaptation by Joe Landry frames the story of small-town do-gooder George Bailey as a 1940s radio show, replacing the movie’s dozens of characters with a cast of five. They portray radio actors performing a Christmas Eve broadcast of "It’s a Wonderful Life" before a live audience.

New fun comes in the logistics of the radio performance on Kevin Depinet’s convincing stage set and the versatility of the actors. Director Rachel Rockwell has assembled a talented cast, who sing such songs as "Button Up Your Overcoat" and "Merry American Christmas" along with performing the play within the play.

Jack Sweeney doubles as sound-effects man and actor, rushing back and forth with earnest fervor. George Keating, as the lead actor portraying George Bailey, offers a resemblance to Stewart with a less laconic style. Dev Kennedy plays the slightly irascible station manager and a variety of voice parts with verve.  Anna Hammonds and Jessie Fisher give freshness to the female roles. Tom Clear ably plays multiple roles, including Clarence, as well as accompanying beautifully on piano, a highlight of the show.

Rockwell’s production shifts the frame’s setting from Manhattan to Chicago and heightens the cuteness factor with some youthful additions, including a schoolgirl singing ensemble with their teacher (Laura Eilers). Two alternating groups of adorable little girls sing a holiday song and stand in as the Bailey children (Emily Leahy, Kelsey Pettrone, Rebecca Roy, Marie Turner and Melissa Wickland and Leikyn Bravo, Megan Graal, Amelia Kuhlman, Annamaire Schutt and Madysen Simanonis).

This production also gives the soundman a young nephew. Stirling Joyner is appealing, but the role doesn’t add much to the plot. The local adaptation also adds some straightforward commercials for Fox Valley businesses to Landry’s comic, period-style advertisements for hair tonic and soap.

 

From left) Jessie Fisher, George Keating and Anna Hammonds (From left) Jessie Fisher, Dev Kennedy, Anna Hammonds and George Keating

Based on Phillip Van Doren Stern’s short story, "The Greatest Gift," Capra’s idealistic film about how one man can make a difference and goodwill can triumph over material wealth was not a great critical or box-office success at its premiere. The New Yorker described the movie as "so mincing as to border on baby talk," and it drew only $3.3 million in ticket sales, $8 million less than "The Best Years of Our Lives," released at the same time. Only after the Capra film’s copyright lapsed in the 1970s and it began to get annual showings on television did it became a favorite holiday tradition, perhaps because, as it aged, it touched viewers’ nostalgic yearning for a period when people’s motivations seemed black and white — whereas its contemporary audiences knew no such time existed.

"It’s a Wonderful Life" is a fantasy, and not just because of the angel. If that’s your taste in Christmas entertainment, you’ll enjoy it.

   
   
Rating: ★★★½
   
   

Anna Hammonds and George Keating 

     
     

REVIEW: American Theatre’s “Its a Wonderful Life”

its-a-wonderful-life-foley

American Theatre Company presents:

It’s a Wonderful Life: The Radio Play

Adapted from the film by Frank Capra
Screenplay written by
Goodrich, Hackett, Swerling and Capra
Based on a short story by
Philip Van Doren Stern
Directed by
Jason Gerace
Thru December 27th  (ticket info)

reviewed by Katy Walsh

microphone “Man’s suicide thwarted on Christmas Eve” sounds like a newspaper headline, not the premise of a holiday tradition. In American Theatre’s 8th-annual production, Frank Capra’s 1946 film, It’s a Wonderful Life, based on the book The Greatest Gift, is re-imagined on stage as a radio play. Though most have seen the movie, the story deals with a distraught businessman George Bailey who eventually considers killing himself so his family may benefit from a life insurance policy. Clarence, angel second class, tries to earn his wings by helping George understand significance of his life. Performed in 80 minutes without an intermission, American Theatre Company’s It’s a Wonderful Life: The Radio Play is a nicely wrapped holiday gift.

It could possibly be said that Wonderful Life is the original dramedy. The plot is Hollywood’s schmaltzy tragedy with a “feel good” happy ending. Within the story of a suicide attempt, the Capra team has created strong characters delivering memorable lines. “Why don’t you kiss her instead of talking her to death?”, “Youth is wasted on the wrong people.”, “No gin tonight, son!”, “Get me…I’m giving out wings.”, “Excuse me! Excuse me! I burped!”, “Every time a bell rings, an angel gets his wings,” and the ever powerful, “Strange, isn’t it? Each man’s life touches so many other lives. When he isn’t around he leaves an awful hole, doesn’t he?” The timeless lines invoke the familiar swirl of sentimental tears and chuckles.

Starting with this strong, beloved script, director Jason Gerace adds a cast of nine members to perform the Christmas classic. The stage is the broadcast room at radio station WATC. The radio announcer (Alex Goodrich) begins the show by prepping the studio audience with “on the air” protocols and the importance of the APPLAUSE sign lighting up. Alan Wilder, playing two key roles – Clarence and Mr. Potter, perfectly mimics the original performances of Henry Travers and Lionel Barrymore. As crotchety old Potter, Wilder mockingly delivers, “You see, if you shoot pool with some employee here, you can come and borrow money.”  Later, as Clarence, Wilder innocently requests, “Mulled wine, light on the cinnamon heavy on the cloves. Off with ya lad and be lively!”

Another player that provides dead-on imitations of multiple characters is Jessie Fisher. As man-eater Violet, Fisher seductively says, “What? This old thing? Why I only wear it when I don’t care how I look.” Then Fisher becomes 8 year old Zu-Zu with, “Not a smidge of temperature.” Although Kareem Bandealy is no Jimmy Stewart, his George Bailey gives a complex range of emotions of a dream seeker -small town hero- suicidal- “richest man in Bedford Falls.” Under the well-paced direction of Gerace, the multi-talented cast energetically lassoes the moon.

For a radio play performed as a stage play, the foley artist (the person who creates many of the natural, everyday sound effects for a live radio show) always adds an interesting element of sound production. With this show, this doesn’t seem to be occur. The foley artist (Rick Kubes) is set up on the side of the stage with various tools and techniques to add the sounds to the radio broadcast. Plunging in the river, clattering dishes, blizzard winds – these radio elements are not completely audibly realized. Kubes needs to crank up the volume! And speaking of audio, preshow, the audience is given an opportunity to write audiograms. During radio commercial breaks, the audiograms are delivered by the cast. Holiday greetings are mixed with requests for parking money as the messages are broadcasted to and from audience members. It’s a nice personal holiday touch and cheaper than buying cards.

 

Rating: ★★★

 

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