Capital City Theatre premiered a modern but timeless musical adaptation of the Christmas classic “It’s a Wonderful Life” with music by Artistic Director Andrew Abrams and John Atkins at Mitby Theater from Nov. 22 to Dec. 1.
Small modernizations, such as having the traditionally male comedic duo played by women, fleshing out the female characters and taking a less shameful view on suicide, brought the traditional themes to a new audience.
“[The audience] sees the movie they love through the lens of where we are today and with more, I think the key word here is acceptance,” Abrams said. “I think everybody today needs more acceptance.”
Abrams and I agree — the cast is fantastic.
Eddie Egan perfectly embodied leading man George Bailey with a warm timbre and old-timey voice reminiscent of Sinatra. While Abrams said the New York professional carried the show, I think he struggled on some high notes.
It was the small town Wisconsinites who stole the show.
The dancer with the cleanest lines and sharpest hits had to be University of Wisconsin-Madison freshman Izabel Nettey. From Menomonee Falls, Wis., Nettey landed the role of Ruth, George’s sister-in-law, through a connection with the show’s choreographer Michael Staneck, who also choreographs the UW-Madison Wisconsin Singers.
The show taught her an important lesson, especially as a young adult.
“This musical has reminded me that I am going the right direction no matter where I go,” Nettey said.
Jessica Minter played Violet with infectious energy and controlled, methodical movements. In George’s alternate universe, she expertly shifted from a naive girl to a woman using her femininity for her own gain.
The angel Clarence, played by Jason Williams, had fantastic physical comedy and an incredible voice. Every lyric he sang went along with a precise choreographed movement.
And when George’s wife Mary sang, I swear I could hear her heart calling out for love. The gentle vibrato in Sarah Ellis’ voice held so much emotion.
In one of this adaptation’s major changes, the play sought to flesh out female characters’ stories.
“Especially in the case of Mary, she's not just like a pretty face,” Nettey said. “She wants something. She wants a family, a life, and it's not just because she's a woman.”
One of the most striking aspects of the show was the set — the larger-than-life buildings rolled on and off-stage by the actors brought the audience into the bustling little town of Bedford Falls.
“The town is a character in the show,” Abrams said. “Because in the movie, the care and community are so prominent.”
Abrams and John Atkins unknowingly wrote the first song for the musical 20 years ago in New York. Fast forward a decade, they decided to write the full show and eventually brought it to Capital City Theater.
Atkins wrote the lyrics while Abrams set it to music. Evan Lang assisted Atkins and Abrams by orchestrating and conducting the band on hand.
Atkins changed lines throughout the process, and Lang made changes to scores up until days before they opened, according to Abrams. The entire show was a collaborative effort, meaning the actors and musicians had to be on their game.
When all was said and done, Abrams couldn’t believe what they created.
“We just wrote a couple songs for this play, and look, it's on a stage with all these people in an orchestra and in lighting,” he said. ”You just kind of can't take it in when you write a new show, and all of a sudden it's on stage, and you're like, wait, we finished that, and people are doing it. It's absolutely nuts. I mean, it's crazy, it's amazing.”
Mary Bosch is the photo editor for The Daily Cardinal and a first year journalism student. She has covered multiple stories about university sustainability efforts, and has written for state and city news. Follow her on twitter: @Mary_Bosch6
