A Wonderful Life

I can't imagine anyone not loving the classic Frank Capra film, starring Jimmy Stewart, It's a Wonderful Life.

The stage musical adaptation, running through February 8, 2009, at the Westchester Broadway dinner theater in Elmsford, New York, is not as well-constructed a property as the original film was; nor does it have as much charm. But the fundamental story—of a good man realizing that he's made a difference—is so strong and moving, that by the time our Everyman/hero George Bailey sees what his community would have been like had he never been born, you will have a good-sized lump in your throat. And—despite an uneven book and lyrics (by Sheldon Harnick) and undistinguished melodies (by Joe Raposo)—you'll be glad you went. If you're looking for something your whole family can enjoy, Westchester Broadway will provide you with a satisfying dinner and show for much less than the price of tickets alone in NYC.

I've seen productions of this stage musical before. There are flaws in the material, no matter who produces it—some songs that are little more than place-holders, some poor choices of emphasis in the script, and some unwise alterations from the original storyline. Too little time is given to the most important part of the story—the angel showing George Bailey what the world would be like had he never been born. Some well-remembered details from film, dealing with George's boyhood, have been needlessly changed or omitted. And the script simply comes to a halt, without any artfulness, at the break between acts. It is surprising that a top pro like Sheldon Harnick, who has done so much great work elsewhere, could create such an imperfectly shaped script.

But Westchester has done as good a job as can be done with the material.

Duke Lafoon is a terrific George Bailey—unpretentious, likeable, and utterly believable. (He's played the role before at Westchester, too, and is clearly right at home in it.) Equally likeable are Ryan Foy as his older brother, Darin DePaul as his guardian angel, and Jack Hallett as his Uncle Billy. You'll enjoy their company. Juli Robbins, as George's love interest, Mary, was a bit too formal for my own tastes; the character needs to be a bit more down-to-earth, warm and folksy, as George is.

Director/choreographer Richard Stafford has told the story simply, cleanly, and well. He—and the whole Westchester team—deserves credit. Because I've seen some bigger, splashier productions of this show elsewhere, with more dancing, more actors, and more elaborate sets, in which the basic story was not told as clearly or as effectively; the story got buried under the weight of some big production numbers. Stafford keeps the focus, wisely, on George and his predicament. I like the way Stafford uses the house, too—having actors at key points direct lines to the hero from positions in the aisles, in a 1930's group-theater kind of way, so that our hero feels surrounded. One man with the weight of the world upon him. And the vintage photographic images that are projected, from time to time, on big screens—which I've found distracting in some shows—are used sparingly and wisely; the images are well-chosen, and help orient the show.

And in the end, this production works. It moves us, it sends us home reflecting on what's really important in life. And maybe feeling a renewed sense of appreciation. I'm glad I saw it.

Chip Deffaa
Cabaret Scenes
December 4, 2008
www.cabaretscenes.org