Writer/Director’s notes for “It’s A Wonderful
Life”
By Tony Palermo (www.ruyasonic.com)
My adaptation of It's A Wonderful Life brings this beloved tale to
the stage--as a particularly imaginative theatrical production. It began as
a radio-on-stage adaptation and then I remodeled it to work as a traditional
stage piece, with sets, costumes and props. I kept the extensive sound
design from the radio version—which saves troupes from having to reinvent
these wheels.
I also offer pre-recorded music tracks--featuring a period-correct theatre
organ, upright piano and accordion (and jazz-combo for one scene)--to
provide a 1940s style underscoring. However, if you have a live accompanist,
they can listen to the tracks and learn to duplicate the style for the many
musical bridges, stings and beds called for in the script. (Currently no
printed sheet music is available for the show, but we look to offer one in
2010.)
While several playwrights offer radio and stage versions of Wonderful
Life , I am not just a playwright, but a professional radio
dramatist and performer who brings the experience of doing over 900 radio
shows (on-air and on-stage) to my adaptation. My experience is particularly
useful here, since I wrote and produced the hit radio-on-stage Wonderful
Life adaptation for a 6-week run at the 680-seat Pasadena Playhouse in
2005. Our cast included such stars as Michael Richards, Joe Mantegna, Alfred
Molina, Stephanie Zimbalist, Sharon Lawrence, Jamie Farr, Tony Schaloub,
Fred Willard, Orson Bean, Susan Sullivan and others.
With this in mind, I've created a traditional stage version that is both
faithful and fresh. Rather than merely present "the film, cloned
for the stage”, my adaptation fully explores the themes in Capra’s
original, but also features theatrical hijinx that audiences so enjoy.
The dialogue is not word for word from the film, but has been sharpened and
tweaked to underline psychological shadings that reinforce Frank Capra's
themes. Please consider my intentions when producing this script.
Thematic Approach
In order to present this play as something deeper than a nostalgia trip or
mere rerun of Frank Capra's film, you must understand the themes working
beneath the surface. While my adaptation abounds in exuberance and comedy,
it is tempered with a thorough plumbing of the depths of sorrow, regret,
sacrifice and redemption undergirding the story. Take note as I explain the
subtext of the story and how my adaptation uses it to make the drama come
alive.
George Bailey's
Rise and Fall (and Rise)
It's a Wonderful Life
is an Americanized version of Charles Dickens' Christmas Carol--only
here, it is George Bailey's kindly Bob Cratchit-like character who meets the
otherworldly visitor that re-educates him via a frightful "Christmas Yet To
Come." If you can see how Frank Capra echoes Dickens, you can make the story
resonate with audiences better—and come off as an engaging theatrical
experience. So, if Wonderful Life seems to be a delightful 1940s
romp, a “trials and tribulations of George Bailey,” dig a bit deeper to find
Dickens’ Carol beneath the Americana. While the miserly Mr.
Potter is the obvious Scrooge stand-in here, it is George Bailey who takes
on many Scrooge-isms as the story progresses.
For example: George was a dreamy youth, as was the young Scrooge, who was
fascinated by the exotic worlds of Robinson Crusoe and Ali Baba.
But for all George's longing for adventure, he--like Scrooge--winds up a
money-lender. Both are tormented by desire and fear. For George, his deepest
esire is to escape the humdrum life of Bedford Falls and see the big world
out there. George’s greatest fear is of being trapped in small town America
forever.
But the more George sacrifices his dreams, the more frustrated and resentful
he becomes, finally cracking under the pressure of the missing $8000, which
would mean prison--a horrible fate for wanderlust-y George. After a lifetime
of sacrifice, George decides to sacrifice no more. He snaps, becoming a
monster who abuses his family and friends, strangers and even leading him to
suicide, the ultimate selfish act. He has given in completely to his dark
side.
Mr. Potter, George's Evil Twin
George is unconsciously similar to his nemesis, Mr. Potter--someone George
can't stand--but whom fate has shackled him to, because there's a lesson
here for George. He and Potter are ambitious, imaginative men, but both have
been frustrated by life. Potter is physically crippled, while George is
crippled by circumstance. George can no more run away from Bedford Falls
than can Mr. Potter in his wheelchair. Potter lives for money and George
finds himself wishing to die for money--the insurance payout that
will cover the $8000 shortfall. Both are shrewd businessmen--neither losing
his head in the bank panic, but both really love being in control--of their
own lives and controlling/aiding the lives of their fellow citizens.
This doppelganger aspect is important--and I underline it in my
adaptation--with Potter thoroughly understanding George's fears and
desires--and stating them bluntly to George. But Potter is mistaken in his
cynicism. His way of greed and control will never alleviate his suffering or
fear of being out of control. In the story, Potter functions like the ghost
of Jacob Marley in Dickens' Carol--he shows the hero where he'll end
up--unloved, damned in a personal Hell--if he gives in to selfishness.
Throughout my script, Potter recognizes himself in George and seeks to tempt
George to the dark side of money and power. Their many confrontations are
actually George arguing with his own dark self. George thinks he can defy
his "inner-Mr. Potter," but it is only when he fully gives into it,
that he can transcend Potter's fate. The fascinating irony of Wonderful
Life is that George's road to Heaven must first go through Potter's
Inferno. Dante's Divine Comedy is a similar tale of a mortal man on a
fantastical journey through an allegorical darkness full of grotesques, yet
who finally emerges into the light of humility and selflessness.
I would urge that Mr. Potter be played as a shrewd business man—and
tempter--and not just a “mean old guy.” The more interesting the villain,
the more interesting the story. Potter is George’s shadow-self, his own
worst fear of his failings. George must confront his own monstrousness in
order to move beyond it. Make the temptation believable. Have George waver.
One
reason the Capra film has such an emotional effect upon people is that
George’s dilemma resonates so fully with themes that are central to Western
culture.
George's Dark Night of the Soul
In Wonderful Life, George’s journey is led by Clarence, the
apprentice angel, who ironically, one-ups Mr. Potter's temptations by
granting George's most selfish desire--to escape from Bedford Falls--by
having never been born. George attempts suicide, but Clarence
actually makes it happen, drawing his inspiration from Mark Twain's
Adventures of Tom Sawyer--where a dream-chasing adventurer with big
plans decides to fake his death and thus, see Aunt Polly and everyone in
town mourn him at his funeral. Capra didn't have Clarence quote from Tom
Sawyer, but the themes are threaded throughout Wonderful Life.
George is both Tom Sawyer and Ebenezer Scrooge--the American Everyman
at a crisis point.
George gets his death-wish, but the funeral he sees is for everyone he ever
loved! His non-existence transforms the quiet little Bedford Falls into a
nightmarish "Pottersville"--awash in insanity, passion, violence, greed,
treachery, sickness and old age. Pottersville is a fallen world of broken
marriages, broken dreams, strip joints, bars, prizefights, tough cops and
rampant vice. George gets to experience what his hometown would be
without him. He sees that the life he led--the one of dreams denied and
tribulations, the one he was never fully happy with--made a big difference
to those around him.
This dystopia sequence was the entirety of the Philip Van Doren Stern short
story "The Greatest Gift,"-- the source material that Frank Capra and his
writers reworked into the very different It's a Wonderful Life.
However, both Van Doren Stern's and Frank Capra's nightmare scenarios are
clearly derived from Dickens' "Ghost of Christmas Yet To Come" sequence in
Dickens’ A Christmas Carol. In Wonderful Life, we see a
collection of Dickensian lowlifes--from Nick's Bar, to a rum-head Mr. Gower,
to a nasty Violet being rousted for jack-rolling a sailor—but both stories
turn on a soul-shattering graveyard revelation.
In the alternate universe of Pottersville, several characters are dead
because George wasn't around to save or aid them. I handle this by having
Clarence tour George through Pottersville's cemetery--what would have been
the "Bailey Park" housing development. This is a tender moment--a change of
pace between George's rough handling at Nick's Bar and the upcoming lynch
mob scene. This haunted moment—right out of Dickens’ Carol— is full
of the supernatural aspect, but it’s purpose is to drive home the point of
how much George actually matters to the world.
Amidst the crumbling tombstones, an incredulous George asks, "Cemetery...?
Where are the houses? The people I knew?" Clarence replies gently, "Oh...
they're here. George. They're here... The little Blaine girl... Martini...
your father... and over here... Harry Bailey"—whose death brings with it the
death of hundreds on a troop transport that Harry had saved in WW II.
Ironically, George's long wished-for escape from Bedford Falls comes at a
great cost to not only his town, but to America, and the World. Those
troops--and Harry--died for George's sin--of selfishness. Harry is
George's own "Tiny Tim" and it is Harry’s death--echoed in the deaths of the
troops--that is the real turning point for George.
It is here that George is faced with the horror of his selfishness in
wanting to have never been born. The other things he’s seen in Pottersville
seem to be mistakes or misunderstandings, but not what he sees in the
cemetery. While the harshness exhibited by the Pottersville versions of
Nick, Bert, Violet, Ernie and even George's mother are just attitudes--something
that could be changed if George could reason with them--the needless
deaths seen in the cemetery plunge George into confronting what his
selfishness has wrought. It's the pivotal moment in George's salvation--and
oddly, a scene that is missing entirely or merely whisked through in other
adaptations of Wonderful Life. The film version has visuals of
desolation and windy snow, but the other play versions don't sufficiently
marshal theatre’s dramatic arsenal of words, music, and sound to give this
scene the gravitas, sorrow, and bitter irony that it deserves.
However, this cemetery scene is not the final straw for George. He must see
one more "death" attributable to his selfishness. Trying to escape the sad
realization of the graveyard, he seeks shelter in his greatest joy from his
old Bedford Falls life. George must see what's become of Mary in
Pottersville. Unfortunately, here, she's a timid and stunted old maid,
working at the library--where she only reads about life, but doesn't
live it (Fittingly, she's a sad parody of George's own frustrated
life before he married her.) Desperate for one last thread to hang onto,
George accosts Mary outside the library, pleading with her to recognize
him--and give him refuge from the immense guilt he's now feeling.
But Mary doesn't know him and panics, calling in a crowd of bystanders that
quickly become a lynch mob chasing after George. Having given up living
his own life, George is now running for his life, being pursued
by the mob and shot at by Bert, the Cop. Pottersville can no more abide
George than he can abide it.
Eluding the mob, George once again finds himself standing at the
bridge--where it would seem the only way for him to escape Pottersville is
to commit suicide. I have Clarence ask him if he's going to really
kill himself this time, but George has been chastened by the intense
suffering. He has learned his lesson: "Don't despair! Life could be worse!"
But what's more, he learns that suffering is a necessary step on the road to
happiness. It is there to purge him of ego and selfishness. Sacrifice isn't
something to avoid or resent--it must be embraced!
This aura of necessary sacrifice permeated American culture during
World War II--and may find new resonance with modern audiences since we are
again plagued by war and economic hardship. This willful surrender to aiding
your fellow man is also a deeply philosophical paradox and I address it
dramatically in my adaptation.
The Frank Capra Hero
In many of Frank Capra's films, there is a Christ figure--and a crucifixion.
You can see this hero in Mr. Smith Goes to Washington, Mr. Deeds Goes To
Town, Meet John Doe, and of course, It's a Wonderful Life. These
martyrs must suffer before they can find salvation. Capra was a Catholic and
the theme of Christ suffering on the cross is as central to Capra's art as
the plucky optimism of his wisecracking, down-home characters. On the Cross,
as long as Christ held onto his mortal side--the fear of pain and death, the
desire to escape his fate--he writhed and suffered. But at a pivotal point
in his ordeal, Christ lets go of his resistance to his fate and gives
himself up to his duty: sacrificing himself for mankind. This decision to
surrender himself willingly is what allows Christ to transcend his
mortal self and become one with the Divine. His humility is key. And that
lesson permeates Capra’s films.
In Wonderful Life, George has been writhing on his own
cross--from his frustrations at being "trapped" in Bedford Falls, to fear of
bankruptcy and prison over the missing $8000, to the incredible guilt
engendered by the visit to Pottersville.
Throughout my adaptation, I emphasize George's suffering by having him boast
of his dreams and then immediately see them dashed--to better set up his
later turn to darkness. In Capra's film, James Stewart brought this out
through a very emotional performance--desperation in his eyes, kicking
chairs, grabbing people, etc. Here, I've built George's descent into despair
as part of the slimmed-down text, so a variety of actors playing George can
hit the "right notes" without directly quoting Stewart's portrayal.
George has suffered throughout the story--because he's always seen Paradise
as being somewhere "over the rainbow"--in traveling; in building bridges or
skyscrapers; in doing "something big." George's heaven was always
somewhere else.
On the Bedford Falls toll-bridge, I have Clarence quote a bit of gospel,
telling George, "The kingdom of Heaven is spread upon the Earth ...and men
do not see it." George realizes that his Heaven was Bedford Falls all
along! It was there, amidst the frustrations and troubles and his serving
his family and community. Now, conscious of his life's real
adventure--selfless service--George is willing to embrace both the joys AND
the sorrows of his previously "unbearable" life. George must let go of his
dream of finding happiness "somewhere else" and learn to participate
joyfully in the sorrows of the world he is in. And with that realization,
George is reborn--resurrected--and with his attitude changed, his life
becomes truly wonderful.
This is precisely what happened to Dickens’ Scrooge character after his
graveyard conversion. He becomes as giddy as a schoolboy and as generous as
he'd been miserly--before his salvation. Both Scrooge and George are now
joyful lunatics, running through town, shouting "Merry Christmas" to one and
all. George now says "yes" to everything--to the reporters, the sheriff, the
bank examiner, prison, etc. And at this point, the universe reciprocates
George's willingness by having the money rain down like manna from
Heaven--in the contributions of his friends to the rescue fund. While the
bushels of money may seem crass and materialistic, they are actually tokens
of love and thanks and goodwill--earned fully by George for his lifetime of
service and sacrifice.
As much as Wonderful Life echoes the patriotic lessons of World War
II, it is also as profoundly a spiritual tale of death and
resurrection as Dante's Divine Comedy, or Christ's story or Dickens'
Christmas Carol.
These psychological, philosophical, and religious undercurrents are threaded
through Capra's film and I have explored them in my adaptation—but not as
overtly as in this essay. Metaphor and language and character are employed
artfully in the script to “feather in” the theme of this battle for George
Bailey’s soul. And it is the dramatic battle that lifts my Wonderful Life
adaptation beyond a mere nostalgia-trip for fans of the film. The play must
work on its own as drama in order to truly reach a live theatre audience,
emotionally and symbolically through playing the subtext and not just the
dialogue, sound effects, and music. Otherwise, one could merely show the
film version.
That being said, my adaptation is still comical and full of invention in
exploiting the stage medium as Capra's film, while also paying attention the
themes and emotional nuances of the story.
Music
In drama, blocking and sound effects are motion and music is e-motion.
Effective underscoring has a powerful effect on audiences. In scoring
Wonderful Life, my accompanist/composer, Jonathan Green played a
theatre-style organ--employing the unique registrations (organ drawbar
settings) that made 1930s-1940s radio dramas so distinctive. Most of the
show consists of bridge cues that shuttle us between Heaven and Bedford
Falls, while commenting on the drama. These cues immediately make it clear
where we are in the story--which is important with so many scene changes.
They let the audience know that time and tone have changed--from Mr. Gower's
store to the old Granville House to Ernie's cab to George emotional state as
he loses his last chance at college or is peering into the oblivion of the
river. In Martini's Tavern, an Italian accordion plays while George prays
for help. In several cues, Jonathan employs a beat-up upright piano to
render young Janie's shaky practicing and the bluesy barrelhouse atmosphere
of Nick's Bar. In the finale, "Auld Lang Syne" is played on Janie's piano
and then on the organ as an encore sing-along for the cast and audience.
SPECIAL NOTE: I’ve provided two different music cues of “Auld Lang Syne” to
accompany the cast singing in the final scene; One is young Janie Bailey’s
shaky, but passable version of the tune. To me, having Janie accompany the
others—badly—and their singing along, regardless of the quality, is an
affirmation of making due with life’s circumstances. However, I also provide
a well-played version of the accompaniment, so you can choose between them.
Troupes that wish to have their own accompanist perform live can listen to
the pre-recorded music tracks (available for a fee—contact
Sales@RuyaSonic.com) and learn how to play in the style. The script even
includes a listing of the organ registrations (drawbar settings) that your
keyboardist could use to reproduce the correct timbre of theater organs--if
they are using a Hammond organ or some simulator. Currently, we do not offer
a printed musical score, but may do so in the future.
Sound Effects
Bells are central to this story and I use plenty of them as sound effects.
The bells serve as punctuation and as a metaphorical "wake up call" to
George--who's been lost in his dreams--and later his nightmares. The bell
sound effects work their way through the many phone calls, door bells, cash
register ka-chings, and finally to Zuzu's little Christmas tree bell as
Clarence finally gets his wings.
There is also a great deal of background crowd sounds (also known as
walla-walla) to paint the ice pond, boardroom, bank run, bars, crowds and
party. In many scenes, the sound effects, voices, and music are layered
together in a complex pattern that enhances the storytelling.
For example: In the courtship scene, Mary plays a noisy 78 RPM novelty
record of "Buffalo Gals" that must compete with the telephone ringing,
Mary's mother calling out, and George and Mary bickering. As the tension
mounts and the courtship unravels, the cacophony heightens the drama--and
when the two lovers break up, George noisily scratches the record in anger,
as he tries to escape. This approach differs markedly from Capra’s film
version, but the tension contributed by the layering of voices, music, and
SFX echo the turbulence going on within George and Mary—and for all the
noise, the scene ends with Mary whispering “I know...”. The
sonic contrast underlines the peace and quiet that the lovers find in each
other. Sound Effects are not merely noises to represent the reality of ice
ponds and cars and crickets. They can serve to produce dramatic effects, as
they do throughout my adaptation.
Similarly, the use of "Jimmy the Bird" (a repeated squawking voice in tandem
with a bird-in-a-cage) lends humor to the establishment of Carter, the bank
examiner--a scene that could have just been dull plot mechanics. (Try to
create a bird puppet—or stick-driven marionette to squawk along with an
unseen actor delivering Jimmy’s lines.)
Another bit is to the use of an off-stage mic (mimicking the sound of a
telephone voice) for Sam Wainwright, Mrs. Hatch, Mr. Potter and—most
absurdly—Mary’s burbling call to George, urging him to come home to their
new house. (See the Sound Design Notes section of the Sound Effects
appendix for a variety of ways to render this telephone voice effect.)
Sounds such as doors and dinner dishes, footsteps, the scratching record,
cracking ice, and champagne toast will be produced by the off-stage SFX
artist. Other sounds such as wind, Clarence's river splashing, cars, and
harp glissandos are triggered from pre-recorded SFX tracks. I offer my own
professionally designed SFX tracks for a one time fee. They (and the music
tracks) can be downloaded as MP3 files.
Directorial Approach
Please be conscious that there is a ritual aspect to the production of
Wonderful Life. I've seen theater audiences in tears as George despairs
while trapped in Pottersville. His plea to live again is a highly emotional
peak for the star and audience. I milk his subsequent joy at getting to
“live again” by having him address his humble thanks and “Merry Christmases”
to a Bedford Falls townscape situated out in the audience.
There are a number of metaphors I use in my interpretation of this material
to fully evoke this ritual of sacrifice, death and rebirth and you should
consider them in setting a tone for your production. First, I suggest you
seek to convey an edge-of-the-seat quality by urging a vigorous delivery and
slightly fast tempo.
Thematically, a fast tempo also has a purpose. This is a Christmas-themed
show, of course. And Christmas celebrates the pending birth of a child and
always carries anticipation and mystery, as does the unwrapping of a
Christmas gift, and so too, the best ghost stories--which is what
Wonderful Life really is. With that in mind, there should be surprise
everywhere and you should endeavor to keep the audience always guessing
“what’s next,” even though the storyline is familiar.
The second metaphor to pursue is the contrast of delight amidst
awfulness--the bustling crowds despite the repeated crises—especially the
use of walla-walla. The more exuberant and noisy—but at a controlled volume
level—the better. Thematically again, there’s a defiant mysticism about
celebrating life on the shortest day of the year. The idea that hope can
spring from such bleak surroundings is at the heart of Christmas--and
Capra’s fable.
Lastly, try to impart a gusto from the many "little people" of Bedford Falls
and their grotesque counterparts in Pottersville. The actors will enjoy
being able to portray characters who are sweet and then later sour. Have
them do so with urgency—to underline the contrasting worlds on display here.
George’s loony joy at the end seems that much higher for all the frustration
and suffering that preceded it.
Encourage cast and crew to dive headlong into their roles and leave behind
the film's familiar portrayals. This adaptation is a re-invention of the
film for the stage and as a stand-alone dramatic experience.
Preparation
The only other advice I could
give regarding producing the program would be to have the director and crew
watch Frank Capra's’ original film--to refresh their memories as to what is
going on--but to avoid letting any of the cast watch the film. Replicating
the portrayals and delivery of the film actors will only serve to distract
audiences from experiencing the drama you are presenting. The idea here is
to explore the script in front of you and make it your own--to have your own
"wonderful life" bloom on-stage. You need to earn your OWN wings.
Happy Landings!
Tony Palermo
(NOTE: This essay is also part of the production and technical info appendix to
the Wonderful Life
script itself. You don't need to print it out from this webpage.)
