VITAL
John McGivern’s Winter Tales
By Christina Sajdak Lucchesi Actor, comedian and master storyteller John McGivern performed his much anticipated one-man show, Winter Tales (presented by Next Act Theatre) to a sold-out house this past Thursday. At oncehilarious and heartwarming, the production delivers on all counts as it invites us to gaze into McGivern’s personal scrapbook of holiday memories from the legendary duplex on Bartlett Avenue. Comics have always found fodder for jokes in marriage, family and memories of growing up and John McGivern is no exception. What makes his comic style unique, however, is his tremendous warmth, sincerity and candor. These qualities and his remarkable talent for storytelling have won him a legion of fans who return to his shows again and again with newcomers quick to join the ranks. In Winter Tales, McGivern relates his childhood experiences with an exuberance and gregariousness that reaches out and leaves one with the feeling of having been there. As each colorful anecdote and pithy profile brings another relative to life, one cannot help but recognize a crazy aunt, dashing uncle or doting grandmother of one’s own in these people. The set functions as a time machine – a stack of LPs resting against a fireplace; six ashtrays scattered across a table amid the cocktails, the good china and the Thanksgiving turkey. As McGivern tells of praying for snow days at the sight of the first snowflake, of careening down hills on slippery silver saucers, and “grown up” parties in the rec room downstairs, it makes one think. Did everybody do this? Together we laugh at the things we find we had in common, both good and bad, and never knew we did. And laughter is cheaper than therapy. The audience’s proximity to the stage in this production is a boon. The intimacy of this marvelous 99-seat theater is the perfect setting for McGivern. The actor has no reservations about breaking the fourth wall and engages with audience members when the spirit moves him. Such being the case, there is no hard line drawn between actor and audience, house and stage. All are one and all are gathered together to reminisce. Leaving no one out, McGivern interacts with his audience like he’s hosting a party for them, making eye contact with each audience member as if he or she were the only one in the room. It’s no wonder people leave with smiles on their faces ready to face the cold again with very warm hearts. Winter Tales runs through January 4 in the Off Broadway Theater. 414-278-0765 or nextact.org.
Dec 22nd, 2008 by Vital Archives
Dale Gutzman’s Holiday Punch Green
Spiked with humor and a generous spritz of decadence, Dale Gutzman’s Holiday Punch Green lightly focuses on environmental issues. Together with this politically correct “green” emphasis, the two-hour performance also spoofs Gutzmans’s longevity as the company’s artistic director. In these 28 loosely related sketches, the twelve cast members (including Gutzman who appears on stage to host the show) change costumes and scenes effortlessly in the intimate space while Chris Wszaleck’s piano and Patrick Hopkins’ percussion provide the music. The revue presents Gutzman’s particular take on the holidays with panache and a decidedly deviant slant, although several installments could be eliminated to spark a stronger show. During the first half, a number titled “That Special Store” parodies West Side Story with a clever rendition of ”IKEA…the most beautiful store I ever knew”to the award-winning melody of Maria.Jeremy C. Welter follows by singing the timely and touching Brother Can You Spare A Dime? Even box office manager Mary R. Henricksen participates with two satiric versions of The Night Before Christmas in mocking tribute to Off the Wall Theatre. Just before the intermission, a rousing version of Obama Mia! reprises the popularity of Abba’s musical and movie phenomena with catchy political lyrics honoring the recent election. When returning to the theater after sipping real punch, the second act showcases the musical numbers Hard Candy Christmas, featuring the feminine side of Off the Wall, and If I Ruled the World sung solo by Gutzman. A very funny finale closes the show, which was never intended to offer family-friendly entertainment, with a piece that makes this all too apparent. Yet when Off the Wall’s Rickettes immortalize New York’s famous Rockettes to celebrate their 75th birthday the comedic choreography portrays the male cast baring their bellies and legs to conclude the evening with raucous hilarity. While this spicy Holiday Punch may be a delightful drink for those seeking adult seasonal spirits and entertainment, the production will not be everyone’s cup of Christmas tea. These festive moments and music will certainly provoke that kick of sardonic laughter that is Off the Wall’s signature ingredient to the Milwaukee theater scene. Off the Wall Theatre presents Dale Gutzman’s Holiday Punch Green through December 31. For information call 414-327-2552.
Dec 22nd, 2008 by Peggy Sue Dunigan
HOLY SHIT METEOR!
So this happened in Edmonton, Alberta on Nov. 20th: Fig.1: Police dash-cam footage from 11.20.08. WTF WTF WTF WTF In the parlance of local hardcore bands named after exclamations, HOLY SHIT. How did this not make national American news? A huge white ball falls and explodes in a country right on our borders, and no one takes notice? Where was MSNBC? Where was CNN? Where was FOX News? (Wait, FOX is obsessed with the Mexican border. Never mind.) Obviously this was some sort of government cover-up where the US military got involved, possibly with the Men in Black, and forced Canadia’s accommodating news media into radio silence, as it were. Which leaves it up to that last bastion of true investigative journalism–the internet blogger–to speculate about what really happened that fateful night in Chris Benoit’s hometown. This intrepid reporter threw on some blinders, exhaustively researched his own nerdy obsessions (like any conspiracy theorist worth his salt) and came up with the following possibilities: Tesla’s Death Ray: unearthed and test-fired I’m fascinated by the life story of Nikola Tesla, the visionary Man Out of Time who solved the world’s energy crisis in his head roughly 100 years before gas hit $4/gallon while inspiring a band of farm kids in Sacramento, CA to name their butt-rock band after him (and then compose the third-best power ballad of the hair-metal era, “Love Song,” but none of this really has anything to do with astronomical phenomena). While I’m grateful to Tesla’s memory for enabling me to dismiss Thomas Edison as a no-good, elephant-frying son of a whore, I’m probably even more fascinated by the theory that the Tunguska explosion of 1908 was caused by Tesla test-firing the death ray he was supposedly working on in either Colorado Springs or Long Island, NY. In 1907 and 1908, Tesla wrote about the destructive effects of his energy transmitter. His Wardenclyffe facility was much larger than the Colorado Springs device that destroyed the power station’s generator. Then, in 1915, he stated bluntly: It is perfectly practical to transmit electrical energy without wires and produce destructive effects at a distance. I have already constructed a wireless transmitter which makes this possible. … But when unavoidable [it] may be used to destroy property and life. The art is already so far developed that the great destructive effects can be produced at any point on the globe, defined beforehand with great accuracy (emphasis added).(30) Nikola Tesla, 1915 He seems to confess to such a test having taken place before 1915, and, though the evidence is circumstantial, Tesla had the motive and the means to cause the Tunguska event. His transmitter could generate energy levels and frequencies capable of releasing the destructive force of 10 megatons, or more, of TNT. And the overlooked genius was desperate. Could it be that someone, perhaps a budding supervillain, has stumbled across Tesla’s long-dormant superweapon? If so, I’m on the first train to Colorado. America’s economic security is at its lowest point in nearly a […]
Dec 18th, 2008 by DJ Hostettler
Watching Brett from Baghdad
New York Times Baghdad bureau chief James Glanz has filed a wonderful first-person report on watching the Jets-Bills game last Sunday from a war zone. It turns out Glanz has rooted for the Packers his entire life; his dad covered the team for a Madison television station. So, amazingly, he uses the piece to approach the question of what Brett Favre is doing playing for the Jets, not as an expert or even a sports journalist but as a fan. He compares the sensation of watching football from Iraq to what it must feel like to observe life on Earth from Mars. Glanz shares the experience of explaining football to an Iraqi soccer-loving colleague whose cell phone keeps ringing with requests for help understanding the shoe-throwing at President Bush incident. It’s a great read. And now for something completely different. By now you’ve probably heard that Caroline Kennedy is being considered for the Senate seat being vacated by Hillary Clinton. Nobody’s asked me, but I’m all for it. Perhaps it’s appropriate that I disclose my close, personal relationship with Miss Kennedy. One of my earliest memories was seeing pictures of Caroline and John, Jr. when they were kids living in the White House. As young as we were (you see we are virtually the same age), I realized then and there that Caroline and I would be married some day. Caroline Kennedy was my first crush. Things haven’t quite worked out as I imagined back then. She ended up marrying some milquetoast named Edwin Schlossberg. Edwin Schlossberg? So our paths may have diverged but I haven’t forgotten about her. I’d notice when she’d turn up on television promoting a book or stepping up to the plate to address the challenges facing the New York City school system. (I have the greatest respect for Sr. Joel Read but she ain’t no Caroline Kennedy!) And my thoughts were with her when her brother died so tragically in that plane crash in 1999. That left her as the sole keeper of the Camelot flame and I knew we’d hear more from her in time. I know that some will protest that she hasn’t the credentials to step into such an important office. What nonsense! Like her mother and much of the rest of her family, she has been extremely active in public affairs though without the high profile normally associated with political candidates. Her books, including variations on her father’s Pulitzer Prize-winning “Profiles in Courage,” show her high regard for public service and her management of the Kennedy image demonstrates the gravitas and political savvy that bode well for her ability to serve the Empire State. Fare thee well, sweet Caroline, for I harbor nothing but good wishes for you. And if you happen to tire of that Schlossberg guy, give me a holler!
Dec 17th, 2008 by Ted Bobrow
Michael Pink’s The Nutcracker
What a night for the Tannenbaum children! The toymaker Drosselmeyer fashions not only toys, but also an evening of magic for Marie, Fritz, and Clara (and the audience) in the Milwaukee Ballet’s presentation of Michael Pink’s The Nutcracker. This Milwaukee holiday tradition opened December 12 at the Marcus Center for the Performing Arts. Pink’s version differs from the classic E.T.A. Hoffman book that was translated into a full-length ballet through the incomparable music of Tchaikovsky’s enduring score. In Pink’s retelling, Clara still receives the present of a nutcracker on Christmas Eve, but she becomes only one-third of the trio who travel to the Land of Sweets. Marie, her older sister, and Fritz, her rambunctious brother, accompany her on this surreal journey where “The Nutcracker” transforms into Drosselmeyer’s nephew, Karl. Karl falls in love with Marie as the story unfolds while a humorous sibling rivalry flares up between Fritz and Clara. The romantic story of Clara and her nutcracker prince has been transferred to Marie and Karl, including the pas de deux in the closing minutes. Throughout this family-themed evening, Drosselmeyer liberally sprinkles his silver fairy dust over the show, and the evening’s confections abound with lavish sets, glittering costumes and lively dances that stir the audience with visual delight including the charming Tannenbaum home where the Christmas Tree mysteriously grows and the Mouse King arrives for the midnight battle in the first act. To end this entrancing act, the final scene features the Snow Queen, the delicate Jeanette Marie Hanley, stepping through the frosty blue and white costumed ensemble while snow falls like shimmering powder sugar on the stage. With a sense of seasonal wonder, the Queen’s tutu and the snowflake’s gowns glisten through the entire sequence. When the second act opens, Karl and the Tannenbaum children arrive in the Land of Sweets to a carousel of ethnic dancers riding atop their corresponding animals. From then on the ballet dancing entertains Fritz and Marie, along with the theater, although the intricate technical ability of the choreography gives way to allow for more children from the Milwaukee Ballet School to appear in the production. This is incidental unless an original production of The Nutcracker lingers in memory. Incorporating more children into the ballet cast adds a unique element and focuses on these fanciful moments so important to holiday traditions and creates abundant sugar plum dreams for all that attend. Luz San Miguel (Clara) and Tatiana Jouravel (Marie) add lovely touches to the Tannenbaum sisters, their fondness apparent through this story line while Ryan Martin (Drosselmeyer) dusts the night with his own ballet magic. Add in David Gill’s spectacular lighting effects while Pasquale Laurino guest conducts Milwaukee Symphony Orchestra members and The Milwaukee Ballet concludes in perfecting this holiday night of The Nutcracker. Both the young and the young at heart will leave the theater wishing Drosselmeyer might appear one December evening with this enchanting magic at their own front doors. VS The Milwaukee Ballet presents Michael Pink’s The Nutcracker at the […]
Dec 17th, 2008 by Peggy Sue Dunigan
A Christmas Carol
By Christina Sajdak Lucchesi Once again, the Milwaukee Repertory Theater served up a heaping helping of holiday cheer with its annual production of Charles Dickens’ A Christmas Carol, and a lovelier, more penetrating version of this story one would be hard-pressed to find. In no other adaptation does the marriage of music, dance, movement and wordscome together so fluidly to convey the audience to the depths and heights intended throughout the tale. The creative team comprised of Joseph Hanreddy (Milwaukee Repertory Theater Artistic Director) and Edward Morgan, director Judy Berdan, choreographers Cate Deicher and Ed Burgess, and music director Randal Swiggum have collaborated on a masterpiece of multi-dimensional storytelling to touch an audience on many planes. Scenic designer Marjorie Bradley Kellogg, lighting designer Nancy Schertler and costume designer Martha Hally have combined to create visual landscapes that carry the story as if on wings. The beloved tale of charity and redemption traces the transformation of a miserly man as he is forced to view his life in retrospect. Remorse begins to soften the calloused heart, but true repentance comes only upon his witnessing the shadows of things yet to be. Awakened from his physical sleep by the Ghost of Christmas Past he is at last awakened from his spiritual sleep by the Ghost of Christmas Future and vows to become a new man. James Pickering’s reprisal of the role of Ebenezer Scrooge is both delightful and heartfelt. Portraying Scrooge with a vulnerability and emotional transparency from the outset is no small task but necessary if the audience is ever to embrace this cold curmudgeon. Torrey Hanson’s Bob Cratchit is the personification of patience and the steady, understanding counterpoint to his employer’s intolerance. Laura Gordon, in her role as Mrs. Cratchit, is the glass through which we view the timeless conflict between soul and spirit. Ms. Gordon brings this contest to the fore in her character’s struggle to exercise her Christian values toward a man who is a constant reminder of her family’s less than fortunate circumstances. As she negotiates between the pull of human emotion and her spiritual aspirations she ultimately chooses the high road in keeping with Dickens’ ongoing theme of forgiveness and spiritual growth. Adding levity to the production is the engaging Michael Herold as Mr. Topper. The splash of spirits in the holiday punch, he brings an effervescence and vivacity to his role drawing laughter from the audience with ease. Jonathan Smoots plays the gregarious Mr. Fezziwig to perfection, the embodiment of generosity and good will in this tale. Jenny Wanasek as both Mrs. Dilber and Mrs. Fezziwig displays her versatility with comedy as she moves deftly from the wry sarcasm of Scrooge’s housekeeper to the giddy glee of Mr. Fezziwig’s better half. Not to be omitted from comment is the cast of child actors who assume several of the major roles and comprise the children’s ensemble. Children’s director, Shawn Gulyas is to be commended for the quality of their performance which is on a par […]
Dec 16th, 2008 by Vital Archives
The HOLLASKATE bout
The derby was fast and furious on this frigid December night. I was joined by the Vital Source magazine crew as we filmed our first VS Derby vodcast. We had a blast talking to some skaters and got some great footage. What a night! NINJAS STRIKE IN SUDDEN DEATH OVERTIME DEFEAT! CRAZY 8’S, 75 win over RUSHIN ROLLETTES, 72 It was an incredible match! Everyone was on the edge of their seats as this tie game went into a sudden death overtime jam, with the 8’s winning by a mere three points. What made this win even more compelling was that the 8’s were down to just 11 skaters, while the Rollettes were rolling with 18. And talk about high rollers- howsabouts Crazy 8’s Captain Cookie Ciano, who was high scorer for the second bout in a row with 47 big points! The game was neck and neck throughout, ending with a 69-69 tie when the clock ran out. I asked Rollettes jammer High D. Voltage to talk about her personal highlights of the game. “That would have to be the tough defensive walls that the Rollettes put up in order for me to get through. A jammer is only as good as her defense, which makes it much easier to skate through the pack. That’s what made it possible for me to get those two grand slams in the second period, thus taking the lead for a short time. The tempo of the game was also very exciting, and being able to be a part of the first overtime in Bruiser history. Of course, I wish that I came up on the winning end but being able to hold my own against Cookie, who is a machine or at a minimum … not human, makes me feel pretty good. Her focus and tenacity is the core of their team.” Voltage said. Voltage led the Rollettes with 28 points, followed by Smirk Savage with 17 and Jackie O’Nihilate with 15. Reina Pain also scored 4 points, though she appeared to suffer from an injury early in the second half. I asked her what the deal was. “Yeah, I hurt my tailbone from a nasty digger I took. I’m not sure how I even did it or if someone put a block on me. I almost want to say that me being the klutz I am did it to myself! I can’t even sit down on it yet, talk about needing a chiro appointment!” I also asked what she felt the toughest part of the bout was. “I think the whole thing was intense. I think when we had to go into overtime, [that] was probably the toughest. There is always so much pressure on each team by that point because you know that’s the jam that makes it or breaks it. I thought we all played really well out there and one thing that Hacksaw said was, ‘It’s not just one girl who loses or wins a game, it’s the […]
Dec 12th, 2008 by Tea Krulos
FIlm vs Music @ Y-Not III Sat Dec 13th –
BLUE SUNSHINE an electric eclectic audio/visual freak out Sat Dec 13 9pm @ Y Not III 1854 E. Kenilworth Pl. 10,000 WATTS OF EXPERIMENTAL SOUND AND AUDIO | MULTIPLE SCREENS OF LIVE FILM & VIDEO featuring: SIGNALDRIFT *LIVE* (Wobblyhead, Audraglint, Consumers R&D) Signaldrift has been trying to find a way via hardware since 1995. Their sound resides somewhere between shoegazing bliss and disco muzak at a nightclub in an ’80s sci-fi movie, sprinkled with ambient passages sad and pretty. PETER J WOODS *LIVE* (FTAM) Peter J Woods, a local musician/playwright/performance and founder of FTAM, has been active in Milwaukee’s DIY music scene since 2002 and Milwaukee’s independent theatre scene since 2005. In 2006, he was named one of “the cities most innovative art proponents”. His intense live PA consists of loud, dynamic noise that fluctuates between overpowering feedback to complete silence. SAMARAH *LIVE* (Chasma, Zod) Samarah began playing piano at the tender age of seven and experimented with various orchestral instruments and choir during her childhood. By thirteen she was composing her own songs. In the late 90’s she discovered electronic music. Inspired, she bought her first computer, production software, synthesizers, samplers and drum machines. She has since released 3 EPs and a full length which feature elegant compositions of minimal trip hop and experimental idm with vocals. PYSCHOACOUSTIC SPORE *DJ/LIVE* 4 turntables, 3 mixers, 2 minds, 1 laptop The scientific study of the perception of sound is capable of giving rise to a new individual, either directly or indirectly, unconsciously or consciously, when coupled with adverse environmental conditions or chemical influences. Through the use of 4 turntables and a laptop, organic and austere ambient waveform experiments distort and reshape reality before returning to the void. VJ XAV (Riverwest Film & Video) Be prepared for an eclectic and mind-altering mix of film footage from the Riverwest Film & Video archives, the underground source for local, experimental, foreign and obscure films in Milwaukee. VJ NIXMIX & BISHOP (Simplistiks) The industry veterans will showcase their latest immersive visual tour de force on multiple screens located throughout the venue. Massive Soundrig :: SUBVERSION AUDIO Live video manipulation :: SIMPLISTIKS vs RIVERWEST FILM & VIDEO
Dec 12th, 2008 by Howie Goldklang
eyes all aglow, etc
We got this press release from our pals at WMSE 91.7 FM this morning, and it positively made our cheeks pink with love and harmony: Dear Friends and Lovers, We know this might sound unusual, but we are thrilled this morning to thank another member of the Milwaukee radio community – FM102.1. On their own, the kind folks at 102.1 decided to devote their resources to helping WMSE achieve today’s 12-hour, $12,000 pledge marathon goal . They are running on-air promos, are linking to our pledge page, and this morning at 8am, Kramp & Adler will be interviewing station manager Tom Crawford. You might be asking yourself, why? Why would one radio station make the extra effort to help another? We could explain it to everyone, but we’d rather let 102.1 do the talking. From the page 102.1 is devoting to our cause: Why are we supporting another radio station? WMSE is not “competition.” They’re a vital and important part of Milwaukee culture. Our DJs are listeners of their radio station. Our Sales Manager was a DJ at MSE for over a decade. In other words, we’re fans. We think supporting this Milwaukee institution is in our community’s best interest. Thanks for your continued support. We think this is just amazing! If you feel the same way about WMSE, please call in, or go online, and pledge your support to 91.7FM today before 6PM. If you want to feel the glow for yourself, go ahead and make a donation today. It’s been a tumultuous week — the potentially devastating failure of the auto bailout plan, the arrest of corrupt Illinois Governor Rod Blagojevich, rising unemployment numbers. Like most of us, I’m broke as a chicken and anxious about the future. But between this small but triumphant news from community radio, Quinn Scharber’s tambourine orchestra on Wednesday and a moving interview this morning with MacCannon Brown, I’m feeling the love and ready for the weekend, the Get Down, and whatever the next few weeks happen to hold.
Dec 12th, 2008 by Amy Elliott
Get Off the Damn Couch
One of the most refreshing, unusual and effective aspects of the Obama campaign was its ability to convince an incredible number of regular people that they had a personal investment in his election. Every campaign relies on committed volunteers and every candidate builds networks of supporters, contributors and true believers. But the Obama phenomenon took this to an unprecedented level, partly through creative use of the internet, partly by providing real opportunities for more people than ever by building an incredibly effective grassroots network, and, most significantly, by convincingly making his campaign about engaging citizens in the political process. Time and time again, the Obama campaign drilled home the message that his election was going to change the way government works. It wasn’t just about him, it was about us. Well the election is over and now we’ll find out how that’s going to work. Normally, it’s easy to be cynical and figure that that the status quo is going to win out again. But you’ve got to hand it to the Obama transition for making good on candidate Obama’s promise, so far. The Obama transition has provided lots of opportunities for people to get involved and be heard. But, truthfully, I have confidence that President-elect Obama has a better understanding of what it’s going to take to reform Washington than most of us in the vineyards. What I am most excited about is the potential for the legions of us who were caught up in the excitement of this promise to get to work on the local needs we face in our community. We can no longer show up on election day and leave it up to our elected officials in Washington, Madison or City Hall to figure things out. We need to claim our rightful place, our necessary place at the table. The Obama organization is asking its supporters to get together in living rooms across the country this weekend and get started. Believe me, this can get messy and it probably will. One of the great advantages of the Obama campaign was its laser focus on one goal, electing a president. The question we will all face in these living room sessions is, “Where do we start?” Well the answer is “Somewhere.” Let’s face it, here in Milwaukee there is no shortage of problems. We need more jobs, our school system is failing an unconscionable number of students, and our society’s safety net programs are letting too many children and families slip through. Here’s where that great American idea of a free market comes into play. Let’s see what happens when the concept applies to how we want to fix our communities. We may not have all the answers but we can certainly bring imagination and commitment to the process and get started. So don’t put it off. The time is now. Get off the damn couch and let’s get started.
Dec 11th, 2008 by Ted Bobrow
CALL FOR ENTRIES – Gallery Night Screening Series 1/16/09
Here is an exciting screening opportunity from Cramer-Krasselt. Please Forward to all interested parties. ∼OFFICIAL CALL FOR ENTRIES∼ Cramer-Krasselt is proud to announce our inaugural participation in Gallery Night on January 16th, 2009 and we want to showcase your films! Our focus is to provide a space to show locally grown timed-based media projects (live action, animation, experimental, etc.) We’ll have two screening rooms running collections of short films and a dozen flat screens that will show individual films. It will be a fully devoted gallery to the art of multimedia! Deadline for Submission: December 15th 2008!! So get them in!! Send Copies To: Timm Gable 246 East Chicago St. Milwaukee, WI 53202 Screener Formats Accepted: Quicktimes, links, dvds. Note: your submission copies will not be returned unless indicated otherwise Final Formats Accepted: DVD or preferably a quicktime since we’ll want to loop the dvd’s. Length Limit: Due to the attention span limitations during Gallery Night- we’re looking for films that are under 15 minutes in length. Not a hard fast rule, but a preference PLEASE INCLUDE THE FOLLOWING VITALS WITH YOUR SUBMISSION!! Title: Director: Other Cast/Crew: Length in minutes: Genre: Shooting Format: Year of Completion: Synopsis: Website: Contact Info- Name/Address/Phone Number/Email: Formats Available: Feel free to contact either Timm Gable or Lucian McAfee with questions. Thanks! Timm Gable tgable@c-k.com
Dec 10th, 2008 by Howie Goldklang
It’s A Wonderful Life
By Christina Sajdak Lucchesi The Sunset Playhouse in Elm Grove was host to a rather sedate house Saturday night as it presented James W. Rodgers’ adaptation of the Frank Capra film It’s a Wonderful Life. Theater-goers braved the cold this opening weekend, but a story notorious for its warmth, did not, in this rendition, inspire enough to thaw out the chilly audience. The play, true to the film version in most respects, winds through the events of protagonist George Bailey’s life as they go from good to bad to worse, leading him, ultimately, to contemplate his life’s worth. Standing atop a bridge at the precipice of life and death, George encounters his guardian angel, Clarence, who, with permission from above, grants him a wish. George is given the opportunity to witness life as though he had never been born. Act One, chronicling events prior to George’s wish is solid, well-developed and builds to a dramatic climax nicely. The events, post-angelic encounter, are by contrast, hurried and the pacing forced. Without allotting the time necessary for the development of this important aspect of the story the audience never quite identifies with the desperation and anguish felt by George as he encounters loved ones who no longer recognize him and whose lives, without his influence, have gone awry. The emotional connection with the hero at this important stage of the play, the identification with his grief and regret, is vital if we are to experience along with him the enormous relief and joy by play’s end. Instead, this production wraps up all too quickly without the catharsis and emotional punch audiences have come to expect. The production, in keeping with the tenor of the film, sets the story in the 1940s, with costumes and set pieces well-chosen and appropriate to the era. Unfortunately, the multi-functional backdrop, modern in concept, sacrifices authenticity for convenience and tends to distract from the overall visual theme. Although some of the smaller roles were portrayed with reservation and in some cases self-consciousness, the leads and the actors in several secondary roles were spectacular. Ryan Spiering, portrayed the young, wide-eyed George Bailey and his older, beleaguered counterpart to perfection evoking compassion with every gesture, word and expression. Eamonn O’Neill’s interpretation of Mr. Potter, hard-hearted town villain, was impeccable. Charles Hanel as Clarence Oddbody was charming and cherubic. Scott Allen with very little stage time brought Mr. Gower to the fore with the depth and thoughtfulness of his performance. Kara Roeming in her deft portrayal of Mary Bailey exuded the character’s quiet strength, selflessness and irrepressible good cheer in the face of difficulty. She is entirely believable as the instrument that ultimately elicits these traits from the citizens of an entire town. In Howard Bashinski’s Director’s Notes audiences are reminded of the importance of family and community and the virtue of charity so abundantly demonstrated in this story. What better time to re-instill in our lives these bedrock social principles and what better inspiration for doing so than the timeless story […]
Dec 9th, 2008 by Vital Archives
