The Cast of Goodspeed's "A Wonderful Life" (photo: Diane Sobolewski) |
The protagonist's sense of failure and having wasted his
time, an individual's belief in himself, the social ideal of
egalitarianism vs. capitalism (with its goal of material prosperity),
and ultimately one's finding a place where she or he belongs, are all
themes explored by this seemingly lightweight story. Often maligned
in its various iterations, there is more to this story than initially
meets the eye. Underlying the central narrative is the knowledge that
the choices one makes in life determine more than we realize, for
ourselves and also for others. This musical version has been
described as a “romantic tragicomedy”. It may well be time to
take a a second look at the wonder behind a life, or as Capra put it,
the worth of the individual, quoting the fifteenth century
writer Fra Giovanni Giocondo: “There is a radiance and glory in the
darkness could we but see...and to see we have only to look”.
The story, in case you're not familiar with it, (what,
you never turned on the TV at Christmas?) takes place in Bedford
Falls, New York (1928-1945) where the Bailey Building and Loan
Association employs family man and banker George Bailey (Duke Lafoon)
who long ago longed to travel, go to college and become an architect.
All of these goals went unmet thanks to his other priorities, namely
the family bank and the family itself. He did manage to marry the shy
but lovely Mary Hatch (Kirsten Scott) and have three children. But it
was his ne'er-do-well younger brother Harry (Logan James Hall) who
got to see the world, and his chum Sam Wainwright (Josh Franklin) who
seems to have it all. It's no wonder that George, contemplating
suicide, needs a visit from apprentice Guardian Angel Second Class
Clarence (Frank Vlastnik), himself in need of earning his wings.
Clarence shows George what the world would have been like if he'd
never been born, and what the town would have been like if the
miserly old banker Mr. Potter (Ed Dixon) had gotten his way. George
also sees how he's influenced the lives of many of his neighbors,
from Bert the cop (Kevin C. Loomis) to Ernie the taxi driver (Ryan G.
Dunkin) to his scatterbrained Uncle Billy (Michael Medeiros) to his
matriarchal mother Millie (Bethe B. Austin). By the end, it's no
surprise when Clarence is awarded those wings by Executive Angel
Matthew (George McDaniel, who also plays George's father Tom Bailey
and bartender Mr. Martini).
While the performers are (as Mr. Potter's song puts it)
“First Class All the Way”, unfortunately the Book and Score are
not. Although Harnick has made a noble effort to reinvent the more
maudlin aspects of the story (with some awful puns such as “Frank
Lloyd Wrong”, and many predictable rhyming lyrics), the show is
hampered by Raposo's largely mediocre score. Only a couple of songs
(“Wings” and “In a State”) stand out in the threadbare musical
numbers. Director Michael Perlman has stated that the creative team
envisioned their approach to the work as that of snow globes into the
lives and very souls of the townfolk (reflected, as it were, in the
collage of windows in the disappointingly spare Set Design by Brian
Prather). As such it became for them a timeless piece, (as Perlman
puts it, “at once familiar and new”), though period elements
appear in the briefly enjoyable Choreography by Parker Esse (who
devised the more extensive dancing in Goodpeed's “Fiddler on the
Roof” last year), and the evocative Costume Design by Jennifer
Caprio (from the 20's to the 40's). The fine Orchestrations are by
Dan DeLange, with the smooth Musical Direction by Michael O'Flaherty
(in his twenty-fourth season with the company). The Lighting Design
by Scott Bolman and Sound Design by Jay Hilton (which could use some
tweaking with the balance of singers and orchestra) are up to
Goodspeed's usual level.
The musical's central character, George, had never
grasped his influence on the lives of others, how his efforts made
owning a home possible for so many of his neighbors, and how he's
made use of his life to effect the greater good of his community.
He's never seen personal wealth as an end in itself, or the lives of
others as commodities. But he's reminded by Clarence that “no man
is a failure who has friends”. This is of course followed by the
sound of that tinkling bell signaling that another angel (guess who)
has just received his wings. Those who love the film will be delighted
with this version; those with a low treacle tolerance will not.
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