Lyceum review: 'It's a Wonderful Life' radio play retains magic of film version

Jacob H. Knoll, playing George Bailey in the Lyceum Theatre production of "It's a Wonderful Life, A Live Radio Show" reads his lines while Anne Marie Bills, who plays several characters, and Liz Ali, who plays Mary Hatch, lounge in the background, waiting their turn at the microphone. To right is a table filled with items used to create sound effects. (Eric Crump/Democrat-News) [Click to enlarge] [Order this photo]

For the legions of "It's a Wonderful Life" fans who watch the film faithfully every Christmas season -- and I'm one -- a stage version set entirely in a 1940s radio studio may be cause for caution.

I wasn't sure what to expect and had my doubts whether the spirit of the old favorite could make the transition to new medium and new format.

My doubts were laid to rest Saturday, Nov. 14, during the opening performance at the Arrow Rock Lyceum Theatre.

The show opens with the actors puttering around the stage as they prepare to go to work, grabbing a quick bite to eat, sipping coffee, reading the newspaper. And as the radio show begins, the actors who aren't at the microphone continue to lounge at a table, like workers who are taking a break do.

The off-mic business helps establish the situation as one of professional actors just reading a play -- for them, it's just another day at work. The "on the air" sign lights up and they get down to business.

But gradually, the magic of George Bailey's story begins to take over. I couldn't pinpoint a moment when the radio actors became George and Mary, Uncle Billy and Potter, but by the end of the play the radio studio has almost faded into the background as George Bailey rediscovers the meaning in life.

An interesting aspect of the experience is the double nature of both audience and actors. Just as the actors on the stage are portraying actors in a show, the audience in the seats are portraying the live radio show audience. We're drawn into the studio, ready to clap when the "applause" sign lights up. The situation contributes to a sense of verisimilitude, making us feel like we've been transported back to the 1940s, when radio was the dominant form of entertainment.

Another aspect of the radio show setting that enhances the experience of this familiar story is the sound effects duties of the actors. Between delivering lines they must scurry to the piano or to the table laden with gadgets for creating effects.

The sight of Quin Gresham speaking into a can as he portrays Sam Wainright during the phone call scene, for example, or Anne Marie Bills tapping a pair of shoes on the table to indicate a character walking away or the clashing of garbage can lids like cymbals to create the image of Uncle Billy falling down drunk -- all add an interesting, often humorous, dimension to the play.

The play is performed without intermission, which helps maintain the sense of immersion in the live radio show setting, but there are two commercial breaks, which also add to the fun.

But the end, the moving story asserts itself, making the play both a refreshing alternative and a faithful portrayal of the story. Lovers of the film will love this play.

Contact Eric Crump at marshalleditor@socket.net

Related stories:
Lyceum preview: Familiar but different, "It's a Wonderful Life: A Live Radio Show" maintains spirit of film while taking new form:
www.marshallnews.com/story/1586788.html
Lyceum Theatre closes 2009 season with a holiday classic Nov. 14-22:
www.marshallnews.com/story/1584502.html