Sarah Jeanette Taylor and David Joseph

A different rendering of the classic movie, this production, directed with care and specificity by Jenna Ware, challenges five actors to dart about as they play forty-plus characters. Set in New York City in 1946 at the CBS studio, designer Patrick Brennan's trappings and props include a nifty wind machine which is cranked, shoes that will be clapped, simulated/small door, garbage pail ... and so forth. Because the individual assigned (within the context of the text) to facilitate sound effects does not arrive on time, the actors must spring into proactive mode and supply all noises. The evening begins as the performers walk onto the stage. Soon, actor David Joseph, as Jack Halloway, sings to everyone. In this role, Joseph exudes warmth.

Ultimately, David Joseph spends most of his time embodying George Bailey, who has terrible financial problems. Much later on as the show evolves, he is visited by Clarence (Ryan Winkles), a guardian angel who provides George with perspective and vision. This version of Bailey (not exactly similar to the screenplay depiction penned by Frances Goodrich, Albert Hackett, Frank Capra, and Jo Swerling) is sweet, youthful, and quite endearing. Yes, he can be petulant and, at times, unknowing. Actor Jonathan Croy plays, at first, a radio personality named Lionel Harrison. So, too, Croy becomes a variety of people including Mr. Potter, a Scrooge-like persona. Winkles, in a flash, flips from one village resident, like the policeman Bert, to the next; his is a dazzling display of versatility. Sarah Jeanette Taylor's character is Mary, George's trusted wife. Taylor also plays the piano with touch and dexterity. Jennie M. Jadow does well as little girl Zuzu as well as many others. The cast members have been with this company for many years—ranging to Croy's nearly three decades. They seem to have an intuitive feel for this stage. The camaraderie is discernible.

Special features of the evening include some lovely, harmonic a cappella singing (three or four in combination) and Joseph's smooth, dulcet renderings of tunes like "I'll Be Home for Christmas." Each prop situated on or beneath or near the tables placed at both ends of the stage is maximized. The actors, having done the show for a second successive late fall season, have timing perfected.

George, by increments, becomes depressed, even suicidal. Clarence's visit allows the lead character to examine and re-evaluate the value of his and others' lives. This is the opportunity for someone who has pretty much given up to reverse outlook and recover. Thus, It's a Wonderful Life is a play both of morality and magic. Thematically, it speaks of the potential virtues associated with close family and supportive community as well.

Govane Lohbauer's costumes enhance the proceedings. Men and women are outfitted in period dress. Jonathan Croy, in particular, wearing his suit, delivering as Lionel Harrison, has a deep, deep voice, and seems to be a literal match for a man of the mid-1940s. It is easy to imagine him in a black and white film of that period.

Joe Landry, who furnishes the dialogue for this production, is originally from Fairfield, Connecticut. In August, 2006, his introduction to the scripted version, he wrote: "Bringing Frank Capra's classic film to the stage began almost twenty years ago when longtime friend and teacher Frances Kondziela asked me to pen an adaptation for her high school ensemble ... This radio play adaptation was originally mounted at Stamford Center for the Arts in 1996."

Shakespeare & Company, led by director Ware, involves the audience from the outset as actors stroll onto the set from the theater lobby. It all feels genuine and inviting from the authentic looking microphones to the signs urging "Applause" from those in the house at opportune moments. Even theatergoers who would rather elude Christmas time and most everything that accompanies the holiday season will find it hard to resist this suitably vivacious and appropriately tender presentation.

It's a Wonderful Life: A Live Radio Play continues at Shakespeare & Company's Elayne P. Bernstein Theatre through December 28th. For tickets, call (413) 637-3353 or visit shakespeare.org.

Photo: Kevin Sprague

- Fred Sokol