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Disclaimer:
The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Reviews A Wonderful Life Reviewed by Keith Waits Entire contents are copyright © 2009 Keith Waits. All rights reserved.
Among all of the superficial and sometimes shallow holiday perennials in movies and television, It's A Wonderful Life is set apart by a deeper, more insightful story that uses the Christmas holiday not as simply a festive setting but instead to provide context for its emotional climax. The original black and white film directed by Frank Capra and starring James Stewart, was stark and buoyant in alternate measures, charting a bleak journey into despair for the protagonist before his faith in humanity is redeemed through the intervention of a guardian angel. A financial failure in its initial release, the movie found new audiences in revivals during the 1970's and is now a sentimental favorite for many as not only a favorite holiday film but a favorite movie over all. This musical version, developed by Fiddler on the Roof creator Sheldon Harnick in collaboration with Joe Raposo, provides ample opportunity to charm audiences in a new production at Derby Dinner Playhouse. The text is structured to simplify the complexities of the plotline and play up the humor and love story, but many details that provide emotional breadth in the movie are jettisoned to make room for songs that, while entertaining, are not memorable enough to avoid feeling generic. After the powerful work Mr. Harnick had delivered in shows like Fiddler, this score seems bland and deliberately designed not to offend, and where the film presented a nightmarish sequence in which George Bailey is witness to how the world would have suffered horribly from his absence, the musical gets by with a brief foray into an alternate reality with little emotional resonance. It is a schematic rendition of the story that never digs as deep as it could. So we must rely on the merits of this particular production to overcome the script's shortcomings and deliver solid entertainment, and Derby Dinner's history of professionalism doesn't let us down. The hard working cast sings and dances with confident skill and buoyant energy enough to win over any audience. As George, Tyler Bliss manages the neat trick of reminding us of James Stewart without being derivative, and he smoothly juggles the romance and occasional flourishes of physical comedy with the more dramatic scenes. He has a particularly fine moment when he is momentarily tempted by an offer of easy money by the villain, Henry Potter, but regains his moral footing and tells off the vile old man. His partner in this scene, John Payonk, perfectly captures the arrogant and pompous self-importance of Potter. Annette McCulloch was fine and lovely as Mary, George's true love. She and Mr. Bliss brought charm and even a little heat to the romance, making it the most emotionally satisfying part of the play. As Clarence, the angel "second class" whose service to George he is hoping will earn him his wings, Cary Wiger was an irrepressible, impish presence. Kevin Crain did a good comic turn as absent-minded Uncle Billy, as did Dustin Rayburn as Ernie, the befuddled but good-natured cab driver, and Carol Williams proved a reliable fixture as George's mother. Among the remaining cast, John T. Lynes was a standout in an early number, "In A State," that also showed off Barbara F. Cullen's choreography during a Charleston contest. Staging musical theatre in the round is a challenge, but in such moments the Derby Dinner crew makes it look all too easy. The design work was exemplary, with fine costumes by Butch Sager, and economical but evocative settings by director Lee Buckholz. The quality of the buffet was very good, and my dessert, the Hummingbird Cake made in Corydon Indiana, was particularly scrumptious.
Featuring Tyler Bliss, Annette McCulloch, Cary Wiger, John Payonk, Kevin Crain, Dustin Rayburn, Carol Williams.
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