by Mike Hoban
“It’s a Wonderful Life” – Adapted from Frank Capra’s original screenplay by Weylin Symes. Directed by Tonasia Jones and Tyler Rosati; Scenic Design by Sarah Rozene; Costume Design by Chelsea Kerl; Lighting Design by Kayleigha Zawacki. Presented by the Greater Boston Stage Company at 395 Main Street, Stoneham, through Dec. 23.
Greater Boston Stage Company’s production of It’s A Wonderful Life is a lot like seeing a tribute band do songs from one of your favorite artists – just hearing the familiar tunes can bring a smile to your face or, in this case, the re-creations of scenes will certainly bring a tear to your eye. There are few holiday films that have the emotional impact that this classic does, rivaling the granddaddy of them all, A Christmas Carol. And for those of us who have made a viewing of the movie a Christmas season ritual, it’s almost impossible to not choke up when you know what’s coming – whether it’s Clarence getting his wings or George saving Mr. Gower from giving a lethal prescription to a child after he finds out his own son has died.
GBSC gives us all of those highlights and more, some effectively, some less so, and the production is almost guaranteed to be a crowd-pleaser, given the season and the gratitude-filled material. But this version often feels less like a play than a compilation of the greatest hits of one of America’s favorite holiday movies, a problem inherent with producing It’s A Wonderful Life as a full-blown play. In addition to the movie, the story has been produced as a musical (which I have not seen), but most often it is staged as a radio play – and there’s a reason for that. With so much going on, and with so many scene changes (including outdoor settings and the scene where the gymnasium floor gives way to the pool), it doesn’t lend itself very well to the stage.
Adapter Weylin Symmes seems to simply string together scenes, and fails to establish any kind of real flow to the story. And with a cast playing so many roles (only Stewart Evan Smith as George, Marge Dunn as Mary, and Bob Mussett as Uncle Billy don’t double or triple up), it’s often hard to keep track of who’s who. The talented cast gives a game try, and there are some standout performances: Dunn is appropriately angelic as Mary, George’s supportive wife; Mussett is lovable as drunken Uncle Billy; Margaret Ann Brady is effective in the dual roles of Mrs. Potter and George’s mother; and Elainy Mata is a hoot as Ernie the cop, and menacing as Nick the bartender.
While it’s not great theater, it is still good holiday fare (okay, I teared up a few times), and judging by the reaction of the Sunday matinee crowd, most will appreciate this re-creation of the classic. For tickets and information, go to: https://www.greaterbostonstage.org/
