Review: It’s a Wonderful Life: A Live Radio Play

Review: It’s a Wonderful Life: A Live Radio Play  | Miners Alley Performing Arts Center | Golden, CO | Curtain Up! | Eric Fitzgerald

In a season when headlines remind us daily of division, exhaustion, and uncertainty, the simple act of gathering for a story of hope feels almost revolutionary. At Miners Alley Performing Arts Center in Golden, CO, director Len Matheo’s deft staging of It’s a Wonderful Life: A Live Radio Play offers not just nostalgia but a balm—a reminder that even in our troubled times, community, kindness, and the quiet heroism of ordinary lives still matter. Joe Landry’s adaptation, framed as a 1940 radio broadcast, invites us to lean into memory and rediscover the warmth of the film It’s a Wonderful Life, a holiday remembrance that feels urgently needed now.

As the microphones hum and the sound effects table comes to life, the familiar scene of It’s a Wonderful Life unfolds like a 1940s radio broadcast. George Bailey’s story anchors the evening—his youthful dreams, sacrifices for his family, and his long fight against the ruthless Mr. Potter. Mary stands as his loyal partner, offering warmth and resolve through every challenge, while Clarence, the awkward yet wise guardian angel, arrives to help George in his darkest moments.

The acting in It’s a Wonderful Life: A Live Radio Play is the production’s strongest feature, with performers delivering sharp, emotionally charged lines that convey the story without the need for elaborate visuals. In a radio-style setting, where voice alone must maintain character and atmosphere, their precision and warmth keep the familiar story immediate and engaging.

The framework of Joe Landry’s adaptation features multiple radio actors bringing the entire town of Bedford Falls to life, each stepping up to the microphone with a different voice or persona. Matthew Combs, as radio actor Jake Laurents, portrays George Bailey with such heartfelt conviction that the character’s journey feels both vividly urgent and not just nostalgic. Meanwhile, Rachel Turner assumes the role of Sally Applewhite with poise, voicing Mary in tones that blend tenderness with unyielding resilience.

Tim Fishbaugh, as Freddie Filmore, commands the microphone with authority, lending his voice to the ruthless Mr. Potter in tones that drip with menace and greed—a performance that intensifies the stakes of George Bailey’s struggle. Brik Berkes, in the guise of Harry “Jazzbo” Heywood, proves indispensable to the broadcast, slipping nimbly among various townsfolk while also embodying Clarence, the angel.

Noelia Antweiler, as Lana Sherwood, demonstrates remarkable versatility, shifting seamlessly among roles that range from tender to tough, including a gruff taxicab driver whose grit grounds the story’s texture. David Nehls, as Stage Manager, provides the evening’s invisible architecture, overseeing the production with precision and conjuring the live sound effects that give the broadcast its vintage crackle and authenticity.

Under Len Matheo’s direction, It’s A Wonderful Life: A Live Radio Play finds a balance between nostalgia and immediacy, shaping the radio-play format into something both evocative and engaging. His staging emphasizes clarity and rhythm, ensuring that the audience can follow the story through voice and gesture alone, while also highlighting the communal spirit of performers gathered around microphones. Matheo’s steady hand keeps the production from slipping into mere sentimentality, instead drawing out moments of genuine warmth and resonance that honor the classic tale while making it feel freshly alive in this theatrical setting.

The sound effects in It’s a Wonderful Life: A Live Radio Play create some of the show’s most memorable moments, transforming the radio-play format into a vivid world. Under John Hauser’s sound design, every cue—whether footsteps, doors, or the ringing of bells—adds texture and immediacy, helping the audience vividly picture the scene. This is complemented by thoughtful prop design and set dressing from Samantha Piel, whose detailed work grounds the performance in a tangible reality. Their combined efforts give the show its unique energy and charm, illustrating how vital design elements are in maintaining atmosphere, especially in a medium that depends so heavily on audio and imagination.

The production’s visual atmosphere is shaped with care, from Jonathan Scott-McKean’s scenic design, which provides a versatile backdrop for the radio-play format, to Crystal McKenzie’s costumes, which ground the characters in period detail. Adding dimension and mood throughout is Vance McKenzie’s lighting design, giving the story warmth and focus in key moments.

Under Len Matheo’s thoughtful direction, this production of It’s a Wonderful Life: A Live Radio Play emphasizes the sentimentality of the beloved holiday film while showcasing the strength of a talented ensemble that brings warmth and unity to the radio-play format. It’s a heartfelt seasonal show that captures the spirit of Bedford Falls and the lasting message of community and hope.

Audiences can enjoy It’s a Wonderful Life: A Live Radio Play throughout the holidays, with shows running until December 28.

For information and tickets: https://minersalley.com/shows/wonderful/