As one of the most beloved – and most-watched – movies of all time, "It’s a Wonderful Life" is a well-worn tale that manages to still have plenty of appeal, even decades after the Frank Capra film first opened.
A WONDERFUL LIFE, a stage musical "adapted from" the movie by Sheldon Frank and Joe Raposo, isn’t my favorite reincarnation of the story, but it still has the basics that fans would likely expect. And despite the current production of this less-than-ideal material also having a few small issues of its own, the resulting Circa ’21 Dinner Playhouse show still has a lot to offer.
There’s a huge ensemble that sounds great – even when singing the more forgettable or regrettable songs – and plenty of acting talent on display here as well. The first three performers we see (David Tabish as Matthew, Tom Walljasper as Clarence, and Don Denton as George Bailey) are all really strong from their very first moments on stage, and that initial promise is easily borne out as the show progresses.
Tabish is an adorable Matthew, giving the role a delightful, avuncular gentleness that has tremendous appeal. (Enough that I want to see a show that features this cute angel as the main character…)
As the somewhat daffy Clarence, obsessed a bit with anything wing-related, Walljasper imports a comic sensibility into this "heartwarming" story, providing occasional and much-appreciated levity. Fans of Walljasper’s ease with slightly wacky comedic roles will love every one of the precious few minutes we see him here.
And Denton, who does have the major role in A WONDERFUL LIFE, is absolutely terrific. His George is helpful and good and principled and so forth, but Denton also makes him utterly likeable, without ever slipping over the line into caricature or sainthood or schmaltz. The result is a relaxed and fully-realized human character who needs no grandstanding to make a point, and who actually seems to resent the enormous sacrifices he makes for his family and community (as well he should, frankly). Denton’s genuine charm goes a long way here.
Following the first couple of musical numbers (which, quite honestly, are Sondheim-wannabe-ish-slash-operatic and overly-processed-to-the-point-of-plasticity, respectively), the music definitely improves – but perhaps it is the fantastic delivery of "One of the Lucky Ones," by the stellar Kevin L. Shell, who plays Tom, George’s father, that truly makes this number so wonderful. Shell’s rich voice and natural delivery prove stunning in their simplicity, and at the performance I attended, the applause after his number was so enthusiastic that it nearly interrupted the scene (and well it should have).
John Payonk, a handsome actor who blends a touch of scheming megalomania with chilly gravitas to create an unforgettable Henry Potter, also has a fabulous set of pipes – and his "First Class All the Way" is a grand display that showcases his skill in spades.
Other male actors in the show who stand out include Tristan Layne Tapscott – his solid turn as younger brother Harry is a deft one – as well as Mark D. Lingenfelter, lending broad comic delivery to the role of Ernie, and Tom Naab, as a Mr. Martini who is hearty and ethnic without being overdone. Naab also steps up in the big company numbers, easily keeping up with dancers who (if his bio is accurate) are mostly somewhere from one-half to one-third his age.
As is often the case in theater, the plum roles for men far outnumber the women, but pretty Diana Rose Becker, who plays Mary Hatch, does get something to work with – including several songs that showcase her absolutely gorgeous voice. Becker’s acting is also quite good, but sometimes during her musical numbers (which, I repeat, sound totally superb) the facial movements she makes to produce those glorious tones look like a grimace or some other exaggerated expression that is totally at odds with the lyrics or the scene. (In a bigger hall, or without my contacts, this would not be noticeable; and she sounds so good that I just stopped looking at her while she sang, totally enjoying the music without being distracted by this issue.) Purely based on her vocals, however, she is far and away the best singer even in this talented cast, and I’d buy any concert album she recorded – in a heartbeat.
"In a State" is perhaps director-choreographer Bill Fabris’ best company number, and other delights in this production include the pinstriped suit that costume designer Gregory Hiatt put on Payonk’s Potter, lighting designer Brian Hoehne’s lovely moon, and a fine (though cumbersome) set by Lenny Larson.
With so many great performances – sometimes transcending the material – this A WONDERFUL LIFE has plenty of appeal, and I suspect that most who love the story will enjoy this version of it quite a bit. Not flawless – but not seriously flawed, either – most audiences will appreciate this production.
See it for yourself, and let me know what you think.
