It’s A Wonderful Life: The Radio Play

Reviewed by Deborah Klugman
Theatre Unleashed
Through December 18 

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When I was a kid, Frank Capra’s It’s a Wonderful Life was shown on TV every holiday season, along with Miracle on 34^th Street, another heart-warmer that celebrated the essential goodness of human beings, or a few of them at least. There wasn’t all that much worth watching in those bygone days, but even if there had been, I would still have loved the movie. I was young enough not to be put off by its naïve wholesomeness, and old enough for my heart to swell triumphantly when Jimmy Stewart’s good guy George Bailey won out over the rapacious banker Mr. Potter to live happily ever after with his loving family.

Jim Martyka may have had similar sentiments when he decided to adapt the film to the stage; his effort’s resulted in a spare but timely and well-executed production at Theatre Unleashed in North Hollywood.

The play is set in 1947 and takes place in a radio studio which is about to go under, what with declining revenues and listener-ship given the advent of TV. As a last hurrah, station owner Michael (Spencer Cantrell) has called on celebrities and other actors of his acquaintance to participate in a reading of the script, produced with sound effects and all. The gathering, as is common with show biz folk, is an interesting collection of talent that includes distinguished older actors (Steve Peterson), lecherous womanizers (Andy Justus), aging movie stars (Jennifer Ashe) and bubbly brainless starlets (Sammi Lappin). And there are other just plain dedicated performers as well, including Michael’s capable colleague Melanie (Courtney Sara Bell) with whom he’s romantically (but non-committally) entwined.

The first thing that draws you to the piece is the parallel between this fictional setup, which marks the passing of the era of radio, and the painful events which are transpiring within our own local theater community. The details are different, of course, but the common sense of loss and the effort of everyone to rally despite their sadness is similar, and adds poignancy to the piece.

Under Jenn Scuderi Crafts’ direction, the ensemble does fine comedic work all around, with standout work from Lappin and Margaret Glaccum as the goofy sound effects gal. And Cantrell is excellent as the honest and beleaguered George Bailey; he impresses despite merely reading the lines in front of a mike.

The production is too long, running 100 minutes without an intermission. The film script has been cut by about a third, but it’s still a lot to listen to; without any blocking, it grows static. The most fun comes from the comedic carryings-on that take place around the radio play itself.

The Belfry Stage, Upstairs at the Crown, 11031 Camarillo St., North Hollywood; Wed., 8 p.m.; Fri., 8 p.m.; Sun., 2 p.m.; through December 18. (818) 849-4039 or www.theatreunleashed.org. Running time: one hour and 40 minutes with no intermission.