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Capra-esque
by Amy Krivohlavek
It's a Wonderful (One Man Show) Life! reviewed December 19, 2005
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| I wish I had a million dollars. |
| Photo Credit: Sharon Fogarty |
| For many of us, watching It's a Wonderful Life is like slipping into a favorite pair of flannel pajamas—they may show signs of age, but they're warm, cozy, and familiar enough to ward off even the coldest winter night.
In It's a Wonderful (One Man Show) Life!, a solo reinvention of the classic Frank Capra film, actor and impressionist Jason Grossman takes us on a whirlwind tour of one of the most ubiquitous tales in the Christmas canon. As the title suggests, Grossman inserts himself directly into the center of George Bailey's story, condensing it into an hourlong parade of characters. Although this breathless retelling will likely be confusing to those unfamiliar with the movie, It's a Wonderful Life devotees (myself included) will be charmed by the show's mix of kitsch, nostalgia, novelty, and heart.
Director Sharon Fogarty adapted the text for the stage, and she manages to hit the film's high points without any overly noticeable gaps. We still root for George, an everyman who is desperate for adventure but, through circumstances beyond his control, never manages to leave his hometown of Bedford Falls, a lovable symbol of Middle America.
Instead, he takes over his father's bank, marries a local girl, and starts a family. When catastrophe hits the bank, George finds himself contemplating suicide. Thankfully, fate intervenes in the form of an eccentric angel named Clarence, who gives George a golden opportunity—the chance to see what the world would be like if he had never been born.
Fogarty's script deftly captures the arc of George's character, illustrating his drive, goodness, frustration, and joy. Her direction capitalizes on the minimal set—for example, a miniature winter village strung with lights serves as Bedford Falls, while the table it sits on splits into two to suggest the famous scene where George, his future wife Mary, and others fall into a swimming pool underneath a dance floor.
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| Life from the inside out. |
| Photo Credit: Sharon Fogarty |
| The narrative becomes a bit muddy in its execution, however. In some scenes, Fogarty has written dialogue for Grossman to communicate as multiple characters; in others, Grossman portrays George alone as he participates in and reacts to the dialogue around him. The latter scenes are often successful—it is fascinating, for example, to focus on George as he learns of his father's wishes for him to stay home and run the bank. Watching the film, we aren't allowed to linger so long on George's reactions. However, this luxury also requires us to fill in the missing dialogue. While George's responses often make the missing words obvious, the motivations are frequently unclear.
In many of the scenes in which he voices multiple characters, Grossman succeeds in one of the greatest challenges in a one-man show—creating dramatic tension and energy with yourself. The scenes between Clarence and George are especially quick-witted, although a caricature of the evil Mr. Potter, while convincing, takes just a moment too long to assume. Still, playing more than 33 characters is no easy feat, and Grossman is undoubtedly one of the hardest-working actors in New York right now.
He is particularly effective in his earnest take on Bailey, managing to invoke Jimmy Stewart while still making the lines his own. He also offers an impeccable comic turn as the slightly off-center Uncle Billy. His delivery is so personable and direct that often the effect is as if you were watching a close friend recite the show in his basement.
While a few of the more kitschy elements made me wince (why place action figures inside a scaled-down bank?), Fogarty's script and Grossman's performance are essentially faithful to the heartfelt tone of the film. Even as they tweak and embellish an old favorite, they offer a chance to hear the story in a new way, with payoff intact.
And what a payoff it is. As George rediscovers (or discovers?) the pure, simple joy of being alive, I found myself fighting back the familiar tears I experience each year while watching the movie. That this pared-down show can create such resonance is a testament not only to Capra but also to the talented director and performer who bring his story to new life. While these flannel pajamas may be less familiar, they still manage to keep away the winter chill.
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Manhattan Theater Source
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Category: Solo Performance
Written by: Adapted by Sharon Fogarty
Directed by: Sharon Fogarty
Produced by: Funny.....Sheesh and Making Light
Opened: December 5, 2005
Closed: December 29, 2005
Running Time: 1 hour
Theater: Manhattan Theater Source
Address: 177 MacDougal St
New York, NY 10011
Yahoo! Maps Directions
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Tickets: $15.00
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Creative Team
Adapted by: Sharon Fogarty
Directed by: Sharon Fogarty
Produced by: Manhattan Theater Source
Lighting Design: Charles Moran
Sound Design: Charles Moran
Cast
Jason Grossman
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