How faithful is the radio play to the December 1946 film? It’s a subtle but fundamental difference. If it’s in a radio studio, like a BBC Radio 4 drama, the audience doesn’t exist, whereas we do this very much acknowledging and responding to the presence of the audience. The key is: it’s not like a radio drama recorded in a radio studio this is staged and performed in a theatre but designed as if for radio transmission. “The key is: it’s not like a radio drama recorded in a radio studio this is staged and performed in a theatre but designed as if for radio transmission… It’s a subtle but fundamental difference.” These would be done in just a spoken format, performed and recorded with large microphones and one take in front of a live audience. The inspiration for Palermo was the Lux Radio Theatre in Hollywood, which in its heyday in the 1930s and 40s, would put on abridged versions of famous movies for radio broadcast. Not in terms of the narrative, but rather the paraphernalia of what a radio play meant. There have been a number of adaptations of It’s a Wonderful Life done here in the UK, including a musical version, but amazingly, it’s never been done here as a radio play before.ĭirector Guy Retallack in rehearsals for It’s a Wonderful Life. This version was adapted by Tony Palermo, and it’s been done all over America. It was his suggestion, having seen another production in Canada. I’ve worked with Rob Harris, who runs Climar Productions, for five years. Speaking to director Guy Retallack How did this production come about? My interviews with the company also appear in the programme for It’s a Wonderful Life, which opens this week. Which is why, now, a production launching in June feels just right. Not least: it’s not just for Christmas, and was never intended to be. To my astonishment: after years of devotion, I learnt several new things about It’s a Wonderful Life as part of this experience. So, imagine my delight, when producer James Seabright asked me to sit in on rehearsals of his new radio play production of It’s a Wonderful Life… And to interview the lovely director and cast members bringing a story I hold so personally dear to vivid life onstage… There’s only one word for it: wonderful. Though they might not have heard every word out of the actors’ mouths: I know the film so well that I have the annoying habit of reciting whole chunks of dialogue as the scenes unfold.Ī wonderful day today: I get to read & talk about It’s a Wonderful Life & call it work. I was astounded when so many of them confessed they’d never watched It’s a Wonderful Life – now they have. Last Christmas, I spent my first with my other half Peter’s family in Surrey. I’ve also forcibly applied the tradition onto any new relationship. Brooking no excuses, I herd my nephews and niece onto the sofa with me, even if they’re half-asleep – and, when some years we don’t press play until nearly midnight, almost everyone (bar me) is asleep by the end. One of our family traditions is to watch It’s a Wonderful Life on Christmas Eve, and I am the very strict guardian of this tradition. Definitely once – or sometimes twice, thrice or more – every Christmas. Quite frankly, I’ve lost count of the number of times I’ve seen it. It’s certainly the one I’ve seen more times than any other. James Stewart and Donna Reed starred as George and Mary Bailey in Frank Capra’s 1946 film classic It’s a Wonderful Life – with Karolyn Grimes as their daughter Zuzu.įrank Capra’s 1946 classic It’s a Wonderful Life, starring James Stewart as everyman George Bailey, is probably my favourite film of all time.