Review: It’s a Wonderful Life: A Live Radio Play

Joshua McGowen, Kara Chapman, and Jared Blount in It’s a Wonderful Life: A Live Radio Play
Photo by Jennifer Jones

By Larry Laneer
November 27, 2018

Nothing lasts forever, and Pollard Theatre Company in Guthrie has changed a generation of theater history. They’ve replaced the seasonal A Territorial Christmas Carol with It’s a Wonderful Life: A Live Radio Play. Although the change is a good idea, the result has some serious flaws.

Pollard says this show is a “temporary departure” from A Territorial Christmas Carol, an adaptation of Dickens set in Oklahoma Territory, which they’ve been staging since 1987. This departure was prompted by the death earlier this year of PTC’s long-time Scrooge, the great James Ong. But it was time for a change anyway. It’s hard to keep anything fresh for 30 years.

Adapted by Joe Landry from a 1943 short story titled “The Greatest Gift” by Philip Van Doren Stern and the 1946 Frank Capra film, the show’s conceit is the Pollard Theatre audience plays the studio audience for a live broadcast over station WBFR in the late 1940s. The actors wear period dress, read from scripts, and sing commercial jingles. A man does sound effects in full view of the audience. “On Air” and “Applause” signs hang at the back of the stage. It’s a great idea for a play, and the Pollard Theatre is an excellent space for it.

The cast plays characters who are actors performing the radio play and characters in the play. Thus, Joshua McGowen plays the fictional actor Jake Laurents who plays the character George Bailey. Got that? McGowen does a fine job, except when his voice inflections sound like James Stewart, who played Bailey in the movie. It’s hard to say if McGowen does this intentionally.

Other actors play multiple roles, sometimes in scenes with themselves. Timothy Stewart is Uncle Billy, who almost single handedly crashes the family savings and loan company. James A. Hughes plays the miserly Potter. As Mary (the Donna Reed role in the movie), Kara Chapman gives an appealing performance. David Fletcher-Hall is Clarence the “Angel Second Class” who earns his wings in the end. Jared Blount serves as the busy sound effects man.

Scenic design by James Hughes and Michael James credibly reflects a late-1940s radio studio. It’s sort of art deco with two wonderful antique light globes hanging above the stage. Sound-muffling carpets lay strategically on the floor. The microphones come close enough to period authentic. James also designed the costumes. The men’s suits don’t much resemble 1940s wear; the women’s dresses and hats look about right.

But this production fails in those details that separate an okay effort from a top-notch one. Generous theatergoers might forgive PTC for the recorded music, but wouldn’t a live organist—like they used in radio plays—be much better? And it would be nice if the cleverly done sound effect of Bailey plunging into the river weren’t almost drowned out by that recorded music.

One scene calls for a child actor to plunk out a tune on the piano. No instrument is on stage, so the actor sings the tune and imitates playing a keyboard. The stage has plenty of room for a spinet piano.

If you’re doing a sound effects show, you can’t cheat and use recorded sound effects. At one point, a loud recorded thunder clap booms while the sound effects man appears to shake a thunder sheet (a large thin piece of metal that’s been used at least since Shakespeare’s time to simulate thunder). Why not just sound the thunder sheet?

Why director W. Jerome Stevenson has actors move around the stage to different microphones is never clear. Would radio actors do that? And it’s so disappointing when he inserts an intermission into the show. Radio plays didn’t stop for 15 minutes of dead air. Landry did not intend the show to be done with an intermission (although he provides for adding one); the production would run less than 90 minutes without it. This unauthentic interruption greatly lessens the experience of seeing a radio play.

The scene where Clarence takes Bailey back to Bedford Falls to see what life would be like if he were never born completely changes character from the rest of the play. For one thing, the production ceases to be a radio play as the studio disappears, and the actors go off microphone like they’re doing a stage play. Why the adaptor or director would stage the scene this way is beyond me.

Pollard needed to retire A Territorial Christmas Carol or do it in alternate seasons with something else. It’s a Wonderful Life: A Live Radio Play would be a nifty alternative. In this season of peace on Earth and good will toward earthlings, theatergoers might want to give PTC a chance to make amends with Wonderful Life and give it another go in future seasons. It could be a worthy successor to Dickens in Oklahoma Territory.

It’s a Wonderful Life: A Live Radio Play by Joe Landry
Pollard Theatre Company
8:00 p.m. Thursdays-Saturdays
2:00 p.m. Saturdays-Sundays, through December 23
Pollard Theatre
120 W. Harrison Ave., Guthrie
$30
405-282-2800

 

Review: Love Never Dies

“The Coney Island Waltz” featuring Richard Koons (“Squelch”), Katrina Kemp (“Fleck”),
Stephen Petrovich (“Gangle”), and the ensemble of Love Never Dies Photo by Joan Marcus

By Larry Laneer
November 14, 2018

The musical Love Never Dies benefits from lowered expectations. Billed as a sequel to that mint (that is, a place where they print money) known as The Phantom of the Opera, the show surely couldn’t equal its predecessor in fan fanaticism, longevity, and falling chandeliers. Colorful, if not particularly compelling, Love Never Dies requires the audience to accept a shaky storyline.

With music by Andrew Lloyd Webber, lyrics by Glenn Slater (additional lyrics by Charles Hart), and book by Ben Elton, the show plays this week at the Thelma Gaylord in the OKC Broadway series. The reviewed performance was more interesting than usual but not for the right reasons.

At first, Lord Lloyd Webber said Love Never Dies is not a sequel to Phantom. He later changed his mind and said it is a sequel. It doesn’t make much difference. For theatergoers who haven’t seen Phantom, an adequate amount of backstory comes early in the sequel (or not the sequel).

The Phantom mysteriously vanishes at the end of Phantom. He turns up in this show as the proprietor of Mister Y’s Phantasma, a freak and burlesque show in Coney Island, New York. Meg Giry and her mother, Madame Giry, from Phantom are with him. How this happens is explained on stage. Soon, none other than Oscar Hammerstein (who is never seen, but is the real-life grandfather of the Oklahoma! lyricist) brings vocalist Christine Daaé, also from Phantom, to New York to perform at the opening of a new opera house. Thus, The Phantom and Christine are reunited 10 years after the end of Phantom.

Then, the stage teems with overwrought and oscillating passion, betrayals, revenge, romantic rivalry, and dramatic acting. Some might say melodramatic acting. To be fair, the overacting fits the style and setting of the show.

The production went a tad wobbly on opening night. The curtain was 15 minutes late with no explanation. About half-way through the first act the show stopped for 27-minute “pause” attributed to “technical difficulties.” After the restart, the show continued with no noticeable gremlins.

Directed by Simon Phillips, the production features some impressive singing. Lloyd Webber can write songs that soar, sometimes into the wild blue yonder, so it would be hard to overdo the score’s music. (The title song may stick in your head for a while.) Bronson Norris Murphy as The Phantom and Meghan Picerno as Christine have powerful singing voices. Picerno’s Christine milks applause (completely in character) from every corner of the house. The show could be subtitled “Christine’s Impossible Choice.” Murphy’s Phantom mesmerizes women with song.

As Christine’s son, Gustave, young Jake Heston Miller gives a strong singing and equally fine acting performance (another actor doubles this role at some performances). As Christine’s dissolute husband, Sean Thompson equals and rivals The Phantom. Although their stage time seems limited, Mary Michael Patterson as Meg Giry and Karen Mason as Madame Giry give strong performances. The supporting cast and ensemble are fine.

Gabriela Tylesova designed the set and costumes and both play important roles in the production. The costumes add a dash of color to an essentially dark show. The detailed, intentionally askew set, which includes a frequently used revolve, flows through several varied locations, including Mister Y’s bizarre sideshow at the end of the first act.

A 14-piece pit band with small string, reed, and brass sections accompanies the show. Three keyboard players support the orchestra without electronically overpowering it, and they give a fairly credible imitation of The Phantom’s organ playing. David Cullen and Lloyd Webber did the orchestrations.

Love may never die, but it can have a few regrets. All this show’s bombast, melodrama, and waltzing score don’t make up for its unsteady plot. It’s not giving away too much to note that Lloyd Webber reserves the right and characters for a Phantom III. Take your time, Sir Andrew.

Love Never Dies by Andrew Lloyd Webber (music), Glenn Slater (lyrics, additional lyrics by Charles Hart), and Ben Elton (book)
OKC Broadway
7:30 p.m. Wednesday-Thursday, November 14-15
8:00 p.m. Friday, November 16
2:00 p.m. and 8:00 p.m., Saturday, November 17
2:00 p.m. and 7:00 p.m., Sunday, November 18
Thelma Gaylord Performing Arts Theatre
201 N. Walker Ave.
$27.16-$106.90
405-594-8300