The Vancouver Plank Panel argue over whether it's a wonderful life
Your Plank Panel, filled with seasonal cheer:
*Andrew Templeton* who thinks life is wonderful and is a sucker for movies with angels in them
*Marta Baranowska*, the non-movie watching wonder, who likes to claim: "If it's a good movie, chances are I haven't seen it, but I will review the play!"
The play: "The Arts Club":http://www.artsclub.com/index.html second go at *It’s a Wonderful Life* at the Granville Island Stage
*Andrew:* For the second night in a row, I’ve witnessed a theatrical adaption of a movie on an Arts Club stage. Last night it was "Beauty and the Beast":http://plankmagazine.com/review/theatre/vancouver-plank-panel-encounter-..., tonight it was It’s a Wonderful Life. Interestingly enough, I had no blocks with Beauty and the Beast; I was able to accept it as a stage creation in its own right. Perhaps this is due to the original Disney film having borrowed so heavily from musical theatre in the first place and also my having only seen the movie once 17 years ago. It’s a Wonderful Life, on the other hand, I’ve seen countless times. This probably won’t do my creditability as a serious playwright any favours but It’s a Wonderful Life is my favourite film. Alas, it’s not Bicycle Thieves or Citizen Kane but Frank Capra’s schmaltzy ode to the impact one person can have on the lives of others that would go with me to a desert island. No matter how many times I see it, I still get misty eyed when Mr Gowar hits young George and then begs for forgiveness and bawl like a baby when the community comes together to help out our hero. Sniff.
There is no doubt that the Arts Club production is a “faithful” adaption. In fact, maybe for me it was too faithful. I had trouble getting the original out of my head (and the fact that they projected scenes from the film against the back wall didn’t really help). I couldn’t get away from thinking of Todd Talbot as Jimmy Stewart, Jennifer Lines as Donna Reed and Kevin McNulty as Lionel Barrymore. Now, you, on the other hand came fresh to the story. What were your initial impressions?
*Marta:* I really enjoyed it despite walking in and feeling like I wouldn't. The storyline was so honest and cute and the production was really well done. The set was spectacular, making special note of the craftsmanship of the bridge. And Andrew I disagree with you about the background movie clips. Perhaps for you it caused a constant comparison in the back of your mind between the old and new, but in my eyes it only added to its appeal. Mixing mediums is not uncommon these days and the balance between the two was properly executed.
*Andrew:* It’s interesting our reactions are based so much on our experience (or lack of experience) of the source material. In many ways, my objections to the show are quite abstract. You’re right, this is a slick piece of theatre that is well performed but still I found myself with the nagging question of “why”. What did this contribute that I couldn’t get from the movie? Obviously, it contributes something to the Arts Club season; it’s a popular show but I was hungry for something a bit more. Here’s an example that shows my age: when Devo covered the Rolling Stones song Satisfaction, they completely reinvented it, making it their own. Or when Eddie Ladd performed Scarface at the PuSh Festival a couple of years ago, it was her personal take on the material not a slavish re-creation. Some of this, I must confess, is in reaction to “playwright” Philip Grecian who was quoted in the program notes banging on about how difficult it is to adapt material from one medium to another. Yeah, right. I don’t have an objection to adapting material, per se. I guess what I want is reinvention, a theatrical response to the material.
*Marta:* Ok, so you say you want reinvention. I think that's a load of bull. If they had taken this classic movie and changed any part of the storyline you would be complaining that they tarnished the original. It sounds like you think this is a piece that should not be adapted to the stage, and that's fair enough, not everything should be. Maybe it is too difficult for me to make a convincing argument in favour of the Arts Club because I haven't seen the film and therefore cannot possibly counter everything you're going to say, however I still feel that in taking a noted Christmas flick and transferring it to the theatre they did us all a favour. Readers, please don't misunderstand what we say when we mention the interjection of clips from the movie. With the exception of one or two scenes, the only bits shown are used as backdrop and support. Are you now going to tell me I'm wrong Andrew?
*Andrew:* Frankly, yes, I am, Marta. It’s not like I see the film as a sacred cow that should never be touched. I would have loved it if they’d changed the storyline. Told it from Mary’s perspective or Potter’s or Zuzu’s as a grown woman remembering the night her dad went nuts. Or used the physical reality of performers on stage and the magic that can be created: make it a two hander between George and Clarence as they wrestle over the value of human life in a pool of water. Anything, really. In fact, there were a couple of points at which Grecian altered the original: the bar scene is now, bizarrely, in the Bailey home and he also added a scene where Potter gets his comeuppance over the money that fell in his lap. One of the more distressing elements in the original movie is that Potter effectively steals $8000 and gets away with it but – you know – that is kind of the point. The greedy and grasping rarely get punished – except where communities come together. In Capra’s version Clarence didn’t affect change, he showed George an alternative reality before events unfolded as they would have in any event. By having Clarence punish Potter – like some avenging angel, completely out of keeping with his character and the premise of the piece – Grecian removes the element of personal responsibility and the core message of the piece. Ugh. He’s actually managed to dumb it down!
*Marta:* Wow, and here I hoped you had run out of ways to belittle the play but, alas I was wrong. But I still think you're missing the point Andrew. This is not about what YOU personally wanted to see happen. Audiences who attended this piece did so because they wanted, nay, expected to see It's a Wonderful Life, not some cheap knock off. If it had been an adaptation of the story, don't you think somebody would have told you before you bought the damn ticket?
*Andrew:* I’m not quite sure what the point of reviewing is if it’s not to give your personal response and I can only give one: mine. I can’t anticipate what made the couple in row G, seats 23 & 24 decide to go to see a particular show, let alone what their reaction might have been. I’m also a bit confused by your terms. What we saw was a cheap knock off. What I was advocating for was something that was a) original and b) truly theatrical – which would have required more effort on the part of Grecian as the original adaptor. And that’s where my problem really lies. Not with this particular production – which was slick and professional – but with the impulse on an artistic level to do it in the first place. As a business move, it makes perfect sense. So, do you think you’re going to see the movie now?
*Marta:* You make an interesting point regarding this production being a smart business move. If it makes you happier, think about it in those terms. Think that the entire reason this particular movie was adapted for the stage was to introduce younger audiences to a classic tale. To keep its legend alive so that future generations will continue paying the royalties to have this thing played on tv. If for nothing else, this was a brilliant business move. And yes, Andrew, I think I have to see the movie now. Otherwise what was the point of this all?
_It’s a Wonderful Life by Philip Grecian (hah!); Based on the film by Frank Capra; An Arts Club production at the Granville Island Stage until January 3, 2009; Director Dean Paul Gibson Set Design Ted Roberts; Lighting Design Marsha Sibthorpe; Costume Design Rebekka Sorensen Projection Design Jamie Nesbitt; Sound Design Neil Weisensel; Stage Manager Pamela Jakobs; Featuring: Todd Talbot, Jennifer Lines, Bernard Cuffling, Kevin McNulty, withPeter Anderson, Jianna Ballard, Valsy Bergeron, Leigh Bourque, Sasa Brown, Domenico DeMichina, Erla Faye Forsyth, Julien Galipeau, Kyle Jespersen, Eric Keenleyside, Brian Linds, Beatrice Zeilinger. (Kirsten Robekwill assume the role of Mary Bailey on Dec 16). For more information wish yourself_ "here":http://www.artsclub.com/plays/20082009/onstage/wonderful-life.htm.