BIOGRAPHY | PHILIP GLASS

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Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.

The operas – Einstein on the Beach, Satyagraha, Akhnaten, and The Voyage, among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as The Hours and Martin Scorsese’s Kundun, while Koyaanisqatsi, his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since Fantasia. His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.

He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School, and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson, and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.

The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.

There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty five operas, large and small; twelve symphonies; three piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris’s documentary about former defense secretary Robert McNamara; string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.

RELATED PROGRAMMING: THE PHOTOGRAPHER | MAR 20-22, 2020

SOURCE: PhilipGlass.com


MEET THE ARTISTS | IT'S A WONDERFUL LIFE

THE CREATIVE TEAM

David Ossman (adaptation/direction) has appeared many times at WICA, notably in Lew Carlino’s magnificent School for Scandal, new plays by Richard Evans and Tom Churchill, Love Letters with Michael Learned, and most recently in The Investigation as President Trump. He directed the ragtime staging of Seven Keys to Baldpate in 2006.

After graduation from Columbia’s School of Drama, David had only directed a single chancel play in Greenwich Village before creating a familiar voice on New York’s WBAI-FM, where he produced a classic Beat-era broadcast series, “The Sullen Art.”

David returned to live theater (as a performer) with the first Renaissance Pleasure Faires, where dialect and improv skills led to radio improv, then full-on folk-club stage plays with the newly-formed and super-hip Firesign Theatre in 1968.

Firesign, in its “Beatles of Comedy” heyday, played sell-out dates at Carnegie Hall, The Roxy, and the Seattle Paramount among other historic venues. One of its last four-man performances was at WICA in 2011.

Firesign’s vast archive was acquired in 2018 by the Library of Congress. Fifty years of broadcasts, movies, comedy scripts and original books, and Ossman’s own novels and memoirs are easily found on line.

Judith Walcutt (direction) had her first play, Lainguage, presented at the Ann Arbor Experimental Arts Festival and NYC’s LaMaMa Theatre shortly after her graduation from Bard College. During her graduate school years at USC, Judith produced Beatrice Manley’s (co-founder of the San Francisco Actors Workshop) Conjunctions, which included her Anna Grace: a poem for dancers, and performances by notable visiting authors. In WICA’s first two years, Judith produced love is a place – an e.e. cummings cabaret, “Summer Radio Festival” evenings, a family “Poetry Blast,” and A Child’s Christmas in Wales.

Judith’s company, Otherworld Media, has staged numerous Whidbey productions including Don’t Crush That Dwarf, A Thousand Clowns, and the audio-cinematic staging of Agatha Christie’s “The BBC Murders.”

Her first major live radio theatre work, “The Wonder Tales” (based on the Volsung Saga), was presented in four episodes at the Magic Theatre (San Francisco) in 1981. Her “War of the Worlds 50th Anniversary Production” was nominated for a Grammy in 1988. Judith’s children’s musical, Frankenbean and the Monster Carrots toured museums nationally and her radio broadcasts include two years of Choochokam programming and a season of “Live From The Islands,” promoting South Whidbey arts.

Judith has directed plays by Ursula K. LeGuin, Gish Jen, Margurite deAngeli; and such distinguished actors as Angela Lansbury, Colleen Dewhurst and James Earl Jones.

Patricia Duff (choreography / Cousin Tilly) studied acting in college and plied the trade later as a working actor in Chicago. Since moving to Whidbey Island, Patricia has performed in Whidbey Island Center for the Arts’ productions of Seven Keys to Baldpate, The Good Doctor, Cabaret, Enchanted April, Rabbit Hole, Becky’s New Car, A Christmas Story, The Fantasticks, and A Glass Menagerie. At Outcast Productions, she was seen in Nickel and Dimed, Good People, Gertrude Stein and A Companion, and Oh! What a Lovely War. Most recently she performed in Island Shakespeare Festival’s production of Shakespeare's Other Women. Many heartfelt thanks to Judith and David for their illuminating and community-embracing literary and theatrical dexterity. They are truly a Whidbey Island treasure. Merry Christmas!

Carol Douthitt (properties) enjoys gathering props for both WICA and the Whidbey Playhouse, thinks “nothing’s better that finding or making just the right piece,” appreciates the camaraderie and hard work putting on a show, and hopes to be onstage again or behind the scenes in the coming season.

Tony Brewer (sound design) is a poet and sound effects artist from Bloomington, IN. He has taught and performed at the National Audio Theatre Festivals in Missouri since 2001, and has been the sound effects guy and associate producer of the WFHB Firehouse Follies live broadcast variety show in Bloomington since 2008. He won an ANGIE (named for Angela Lansbury) and was made a Kentucky Colonel for his live foley work 2008-2012 at the International Mystery Writers Festival in Owensboro, KY. In 2015 he received the inaugural Bradshaw Award (named for Firesign Theatre character Lt. Bradshaw) for Service to the Field of Audio Theatre by the American Society for Science Fiction Audio. Tony has taught at Indiana University, Ivy Tech Community College, Michigan University, and the Kansas City Art Institute; and he has performed with the Knoxville Opera, IU Cinema, and the Wounded Galaxies Festival, as well as in dozens of independent productions, most recently with VoiceScapes Audio Theatre at the Center for Jewish History in NYC and at Granfalloon: A Kurt Vonnegut Convergence in Bloomington. By day a mild-mannered book designer at a university press, Tony also frequently collaborates with the experimental music + field recording collective Urban Deer.

Deb Shirey (stage management) has had the privilege of being part of WICA for seven wonder filled years. “First with City of Angels as a crew member. What an exciting show that was. I was in the back of the stage for a few more plays. Then up to the booth. There I got to learn from some of the best lights and sound. Then on to learn stage management with help from WICA. Emma, The Addams Family, White Christmas, Owen Meany’s Christmas Pageant, and The Santaland Diaries. Two years with The One Act festivals. WOW time goes by fast when you get to see magic in the making. I hope you enjoy our show.”

THE CAST

Wendy Ashford (Ensemble) was last seen in Mae West’s SEX. It’s a Wonderful Life is her fifth production at WICA.

Logan Ball (Sam Hee-Haw Wainwright) is delighted to make his WICA debut in this production. Logan is a recent transplant from Dallas, TX. Logan’s theatrical life began during adolescence, and saw its height with a performance in front of a crowd of a hundred thousand in South Korea. He has also worked in lighting, sound, and scenic design. You may have seen Logan onstage last summer as Theseus in Island Shakespeare Festival’s production of A Midsummer Night’s Dream. Logan now spends his days in the world of architectural rendering. A huge thank you to friends and family, especially Eva. Happy Holidays!

Jim Carroll (Ernie) appeared on WICA’s stage as Ernie Cusack in Rumors, Gordon in Dead Man's Cell Phone, Caveman in The Addams Family, Buddy in City of Angels, Snoopy in You're a Good Man Charlie Brown, Tom Jenkins in Scrooge, and MacMillan in Big, the Musical. Jim recently directed Shtick at Outcast Productions, where he has also been in Over My Dead Body, Dogpark, Nickel and Dimed, Someone Who’ll Watch Over Me, Why Torture is Wrong, and Play On. As a Firesign Theater fan since 1972, Jim is thrilled to be working with the real George Tirebiter and his lovely and talented wife Judith the She-Noodle. Dreams do come true!

Jameson Cook (Harry Bailey) began working with Martha Murphy at Whidbey Children’s Theatre at the age of seven, performing in The Shoemaker and the Elves, followed by Treasure Island, The Best Christmas Pageant Ever, Stompin, Charlotte’s Web (Templeton), and Robin Hood, as Robin. An older Jameson later returned to the cast of Treasure Island as Dr. Livesey. Jameson’s work with WICA includes The Kentucky Cycle (Joshua Rowen), Oliver (Charlie), and Big (Billy Kopecki). Jameson continued his performance education at EVCC, earning his Associates, with a focus in Theater Arts. While attending EVCC, he performed in Don Juan (Piero) and two student-written plays and directed Six Characters In Search of An Author. Jameson loves the stage and plans to continue his education in fine arts.

Chris Douthitt (Joe Hepner / Carter) and wife Carol moved to Whidbey in 1996 after a decades-long career as a professional sound designer. Chris was the Video/Filmmaking teacher at Oak Harbor High School for 16 years; he retired in 2018. Added joys during that time were supervising summer “Film Camp” at WCT for ten years, starting Wildcat TV in 2005, and appearing in the OHHS production of Guys and Dolls. Chris worked with Judith Walcutt and David Ossman on their staged radio productions of Mr and Mrs. North (WICA) and Agatha Christie BBC Murders at Whidbey Children’s Theatre.

R James Enslow (Martini) first trod the boards in 1985 at The Clyde Theatre in An Enemy of the People. He appeared in the world premier of the musical Charley Parkhurst, One Flew Over the Cuckoos Nest, The Rainmaker, Picnic, and The Foreigner. Since “graduating” to the WICA mainstage, he appeared in Mrs. California, The Dining Room, The Miracle Worker, Nevermore, and Picasso at the Lapin Agile. In addition to acting, he has worked the lights and sound boards, crewed backstage, and created and operated special effects. Thank you, audience, for the energy you give back to the actors on stage. It’s good to be back!

Jim Freeman (Pop Bailey), when not being himself on stage, enjoys being someone else. Tonight's the night!

Annabella Harrison (Young Mary) is in the 5th grade at South Whidbey Elementary School. Aside from theater, she enjoys playing her trumpet, hip-hop dancing, and karate. She began acting at an early age at Whidbey Children’s Theatre. One of Annabella’s favorite roles was playing Michael Banks in the WCT production of Mary Poppins. She also enjoyed playing Jip the dog in Doctor Doolittle. Her most recent performance was the Goblin Minion in The Hobbit. Annabella thanks her parents and Martha Murphy for making it possible to do this production.

Gabe Harshman (George Bailey) graduated high school at Idyllwild Arts Academy, and studied theater at Roosevelt University’s Chicago College of Performing Arts. Locally he has performed in Next to Normal, White Christmas, and Our Town with WICA; Much Ado About Nothing and A Midsummer Night’s Dream at Island Shakespeare Festival; and Bollywood and Vine the Musical, A Couple of Blaguards, and Greater Tuna at Outcast Theater. His prior directorial credits are A Couple of Blaguards as well as assistant directing The Flick at Outcast Theater. He is also a host for Whidbey TV’s “What’s Up Whidbey.”

Shelley Hartle (Ma Bailey) is a veteran of Whidbey stages. It’s a pleasure to be involved in this particular production which for years has been part of many happy Christmas traditions. It’s a reminder that love, truth and honesty are still highly valued—in our community as in Bedford Falls. Spread the joy!

James Hinkley (Uncle Billy / Hobo) most recently appeared with the Island Shakespeare Festival where he played the role of Snug the Joiner in A Midsummer Night’s Dream, and the dual roles of Cavalcanti and Ephialtes in Dante’s Inferno. His earlier WICA portrayals include Smee in Peter and the Starcatcher, Uncle Vanya in Vanya and Sonia and Masha and Spike, and the “Old Man” in Prelude to a Kiss. But WICA audiences will most likely remember James from the Box Office where he spent many happy years selling tickets.

Olena Hodges (Violet) is elated to share the stage with this lovely group of friends and fam. Olena grew up on the Whidbey Children’s Theater stage, and could not be prouder to now contribute to the rich artistic realm of this community as the artistic director of Island Shakespeare Festival. She believes deeply in the human experience explored in theatre as a vehicle for social examination and change. Past acting highlights include Desdemona (Othello), Rosalind (As You Like It), Juliet (Romeo & Juliet), and Beatrice (Much Ado) all at ISF, as well as The Two Gentlemen of Verona and The Sign in Sydney Brustein’s Window at the Oregon Shakespeare Festival. She holds a BFA in Performance from Southern Oregon University, and is a graduate of Circle in The Square Theater School. A huge thank-you to David and Judith for thinking of her for this delightful role, and her family and friends for their unwavering support.

Phil Hodges (Principal / Welch) most recently appeared as Linc Dees and Boo Radley in Drfiftwood Theater’s To Kill a Mockingbird.

Kevin Lynch (Mr. Potter) is pleased to be lurching about WICA again as Mr. Potter in It’s a Wonderful Life after having previously played the winsome zombie Lurch in Addams Family. Other island credits include Sterling in Slowgirl, Matthew Harrison Brady in a staged reading of Inherit the Wind, and King Arthur in the Camelot Panto, all at Outcast Theatre. Regional credits include seasons at the two longest running theatres outside of New York, the Oregon Shakespeare Festival and Alley Theatre in Houston, TX. Also, Kevin toured Montana playing Benedick in Much Ado About Nothing, directed by stage and film actor Bill Pullman. Seattle credits include ACT, Empty Space, Seattle Shakespeare, Book-It and Bathhouse Theatre. Kevin produced and played Edmund in a well-reviewed Seattle equity waiver production of Long Day’s Journey Into Night. He was a finalist in both TCG and URTA National Auditions (Chicago and L.A.).

Michael McInerney (Bert the Cop) is pleased to be working once again with David and Judith, having previously played several roles in the last millennium production Don’t Crush that Dwarf/Hand Me the Pliers and Waiting for the Electrician or Someone Like Him. In the intervening years he has popped up on stage (but rarely) in various productions, most recently as General Waverly in WICA’s White Christmas and in five roles, most notably Stanton, Sr. in Edward Jordan’s SEX, WICA’s Fall show. He is also happy to be part of the “IAWL” family .....a real slice of our own South Whidbey community. Kudos to all.

Mike McVay (Potter’s Goon) has been around a long time. His favorite theater is produced by Judith and written by David. Thank heaven the line load is light ‘cause the old memory isn't working like it used to.

Martha Murphy (Mrs. Hatch) is the founder of Whidbey Children’s Theatre. She has been involved with the theater community for the past 38 years. Thanks, David and Judith!

Cormac Nazarian (Young Sam) is twelve years old and attends Calyx Community Arts School at South Whidbey State Park. He enjoys reading, hiking, cooking, dancing, playing video games, inventing, and acting. He really likes oysters, and his favorite color is sunset orange.

Tessa Patty-Caldwell (Ruth Bailey) is a sophomore at SWHS. Tess is thrilled to be apart of It’s a Wonderful Life at WICA! The last play she did was The Adams Family and is currently apart of the upcoming production of Les Mis at Whidbey Children’s Theatre. In her spare time, Tess is playing her flute or baking. She would like to dedicate this performance to her younger brother and fellow thespian, Cooper Patty-Shank!

Lucas Pitts (Peter Bailey) is nine years old. He excels in music, playing both the guitar and piano. If he isn't writing lyrics, he is studying the ones on the airwaves. He has also been involved in underwater robotics for four years, competing yearly at the NASA sponsored competition in Federal Way, WA. With a desire to be on the stage, this his first theatrical performance.

Victoria Saenz (Janie Bailey) has been in many theater camps with Martha Murphy but this is her first WICA performance. She loves dancing, acting, singing, and playing the piano. She wants to thank her family for supporting her passions.

Jim Scullin (Clarence) has been a regular in community theater on Whidbey Island for over twenty years. He has appeared on the WICA stage many times. He reports that it is a particular delight to him to have this opportunity to participate in creating our own unique, local version of It’s a Wonderful Life under the imaginative direction of the Ossmans, and in the company of so many fine actors. And then, to be cast in the role of Clarence! Thank you to all for coming to join us for It’s a Wonderful Life. It’s wonderful to have you here.

Christina Sousa (Ensemble) is fifteen years old, lives in Langley, and is an artist and sculptor. She is an active member of the South Whidbey High School drama club and Music in Motion Show Choir. Christina has performed in Wellington Day School’s productions of Grease, Beauty and the Beast, Circus Berserkes; and the drama club’s production of You Can’t Take It With You. Christina has organised caroling with friends, in downtown Langley. She enjoys acting and is very happy to be a part of It’s a Wonderful Life!

Elise Sousa (Ensemble) is a Langley resident mother of three. She does face painting and henna body art on the side. She has worked with the pre-school class of Wellington Day school, costuming, choreographing, and directing their plays and performances. She is a Girl Scout leader of local high school troop 43552. Elise supports and enjoys all forms of the arts, especially when it comes to sharing it with the children, and our community.

Lila Sousa (Zuzu Bailey) is an eleven-year-old (lifetime) resident of Langley. Lila debuted her vocal talents at Blooms Winery last fall, then performed at the 2019 Whidbey Island Area Fair, accompanied by the Szabo Swingers. She has been selected to sing the national anthem for the 2019 Seattle Children’s Marathon. Lila played the part of Glenda the Good Witch in The Wizard of Oz and Hava in Fiddler on the Roof at Martha Murphy’s summer theater camp. This inspired her with a love and hunger for theater. She is thrilled to be playing Zuzu in It’s a Wonderful Life!

Amy Walker (Mary Bailey) is an LA-based actress, singer, writer, and producer who is thrilled to be back performing on the WICA stage, where she was seen as Nancy in Oliver!, Helen Keller in The Miracle Worker, and in countless plays and concerts. Due out next year, Amy is in feature films Grace and Grit, Our Home, and The Scheme of Things. She’s in pre-production on three projects as writer, actress, and producer, along with incredible Oscar and Emmy-winning team members. She also voices fan favorite VG characters such as Lunara (Heroes of the Storm) and Elise Starseeker (Hearthstone). This is her upteenth show with the amazing David and Judith ~ here’s to more! AmyWalkerOnline.com

RELATED PROGRAMMING: IT’S A WONDERFUL LIFE | DEC 06-21, 2019


DIRECTORS' NOTE | “IT'S A WONDERFUL LIFE”

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“Rendering a motion picture on stage requires leaps of the imagination. Films are composed of many individual scenes and shots. Films generally move rapidly from place to place. Films are peopled by many actors playing many small, but vital parts, including silent passers-by. One useful solution has been to re-fashion the drama into a musical, where big song-and-dance numbers frame the dramatic action. In fact, Paul McCartney is writing his own musical version of It’s a Wonderful Life, due on Broadway in a year or two.

Since we think the original movie script is just fine, heartwarming, romantic, funny and, best of all, the story sits perched on the Bridge between Heaven and Earth, fantasy and reality, life and death. So, no songs.

Instead, a sound-score that creates the daily life of Bedford Falls through twenty five years, from icy Christmas 1919 through George and Mary’s ‘meet-cute’ in 1928 and their wedding in 1932.

Because our actors’ performances bring these characters (and nearly 40 more) to life, their words are delivered ‘on mic,’ a technique borrowed from 1950s radio, (microphones were usually not visible in films), married to a fully costumed stage-play with action, props and settings. Like the movie, we move swiftly from scene to scene, arcing through time and space.

Movie magic is delivered by way of evocative lighting and production soundscapes, including traditional film techniques like live Foley sound-effects and ‘walla,’ the background talk that peoples movie crowd scenes.

Our Second Act brings Bedford Falls into the post-war Christmas of 1945. It also delivers the town into the hellish Pottersville, when George chooses to never have been born. All the Holiday color is gone from Pottersville, made rotten with greed and hate, but, as you must know, ‘twas all a dream, and we wake to celebrate with lifted voices our own beloved community, from which we have drawn three generations of talented artists for this production.

It’s a Wonderful Life is our gift to you, each one of you an angel, at least for the night.” — David Ossman and Judith Walcutt

RELATED PROGRAMMING: IT’S A WONDERFUL LIFE | Dec 06-21, 2019


ARTICLE | It’s a Wonderful Life is one of the best movies America has ever made about itself

Frank Capra’s It’s a Wonderful Life celebrates its 73rd birthday on December 20, 2019.

Sure, there are better-made films. And, yes, there are far more influential ones. It’s a Wonderful Life’s status as an American classic is owed largely to a quirk of paperwork — after National Telefilm Associates, which owned the film after a long, convoluted chain of corporate sales, failed to renew its copyright in 1974, the movie fell into the public domain. Local TV stations found it to be a good way to paper over the long winter afternoons of December, their viewers discovered how good it is, and it became the classic it is today.

But if you were to tell Capra back in the late ’40s that his film would go on to become a perennial favorite, he might have scoffed at you. Upon release, It’s a Wonderful Life was greeted with weak box office earnings and reviews. Though the film was nominated for a handful of Oscars (thanks mainly to Capra’s prestige within the industry at the time), it lost to William Wyler’s The Best Years of Our Lives.

Weirdly, It’s a Wonderful Life seems to be slipping back into the mists of time. It’ll never be as forgotten as it was before that paperwork mishap, of course, but in recent years it’s been replaced in popular discourse by a new series of Christmas movies, like A Christmas Story and National Lampoon’s Christmas Vacation. Now that NBC owns the exclusive rights to broadcast the film, it’s less ubiquitous, just another annual tradition.

It would be too bad if the film lost its cachet, though. It’s a Wonderful Life is one of the best films America has ever made about itself, and that’s why it is loved so much:

  • it belongs to a very specific subgenre of popular American art

  • the film is a not-so-subtle argument for New Deal values

  • It’s a Wonderful Life is a message in a bottle

Take a deeper dive here.

RELATED PROGRAMMING: IT'S A WONDERFUL LIFE | DEC 06-21

SOURCE: Vox


ARTICLE | 25 Wonderful Facts About "It’s a Wonderful Life"

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Mary Owen wasn’t welcomed into the world until more than a decade after Frank Capra’s It’s a Wonderful Life made its premiere in 1946. But she grew up cherishing the film and getting the inside scoop on its making from its star, Donna Reed—who just so happens to be her mom. Though Reed passed away in 1986, Owen has stood as one of the film’s most dedicated historians, regularly introducing screenings of the ultimate holiday classic, including during its annual run at New York City’s IFC Center. She shared some of her mom’s memories to help reveal 25 things you might not have known about It’s a Wonderful Life.

1. IT ALL BEGAN WITH A CHRISTMAS CARD.

After years of unsuccessfully trying to shop his short story, The Greatest Gift, to publishers, Philip Van Doren Stern decided to give the gift of words to his closest friends for the holidays when he printed up 200 copies of the story and sent them out as a 21-page Christmas card. David Hempstead, a producer at RKO Pictures, ended up getting a hold of it, and purchased the movie rights for $10,000.

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2. CARY GRANT WAS SET TO STAR IN THE ADAPTATION.

When RKO purchased the rights, they did so with the plan of having Cary Grant in the lead. But, as happens so often in Hollywood, the project went through some ups and downs in the development process. In 1945, after a number of rewrites, RKO sold the movie rights to Frank Capra, who quickly recruited Jimmy Stewart to play George Bailey.

3. DOROTHY PARKER WORKED ON THE SCRIPT.

By the time It’s a Wonderful Life made it into theaters, the story was much different from Stern’s original tale. That’s because more than a half-dozen people contributed to the screenplay, including some of the most acclaimed writers of the time—Dorothy Parker, Dalton Trumbo, Marc Connelly, and Clifford Odets among them.

4. SCREENWRITERS FRANCES GOODRICH AND ALBERT HACKETT WALKED OUT.

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Though they’re credited as the film’s screenwriters with Capra, the husband and wife writing duo were not pleased with the treatment they received from Capra. “Frank Capra could be condescending,” Hackett said in an interview, “and you just didn't address Frances as ‘my dear woman.’ When we were pretty far along in the script but not done, our agent called and said, ‘Capra wants to know how soon you'll be finished.’ Frances said, ‘We're finished right now.’ We put our pens down and never went back to it.”

5. CAPRA DIDN’T DO THE BEST JOB OF SELLING THE FILM TO JIMMY STEWART.

After laying out the plot line of the film for Jimmy Stewart in a meeting, Capra realized that, “This really doesn’t sound so good, does it?” Stewart recalled in an interview. Stewart’s reply? “Frank: If you want me to be in a picture about a guy that wants to kill himself and an angel comes down named Clarence who can’t swim and I save him, when do we start?”

6. IT WAS DONNA REED’S FIRST STARRING ROLE.

Though Donna Reed was hardly a newcomer when It’s a Wonderful Life rolled around, having appeared in nearly 20 projects previously, the film did mark her first starring role. It’s difficult to imagine anyone else in the role today, but Reed had some serious competition from Jean Arthur. “[Frank Capra] had seen mom in They Were Expendable and liked her,” Mary Owen told Mental Floss. “When Capra met my mother at MGM, he knew she'd be just right for Mary Bailey.”

7. MARY OWEN IS NOT NAMED AFTER MARY BAILEY.

Before you ask whether Owen was named after her mom’s much beloved It’s a Wonderful Life character, “The answer is no,” says Owen. “I was named after my great grandmother, Mary Mullenger.”

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8. BEULAH BONDI WAS A PRO AT PLAYING STEWART’S MOM.

Beulah Bondi, who plays Mrs. Bailey, didn’t need a lot of rehearsal to play Jimmy Stewart’s mom. She had done it three times previously—in Mr. Smith Goes to Washington, Of Human Hearts, and Vivacious Lady—and once later on The Jimmy Stewart Show: The Identity Crisis.

9. CAPRA, REED, AND STEWART HAVE ALL CALLED IT’S A WONDERFUL LIFE THEIR FAVORITE MOVIE.

Though their collective filmographies consist of a couple hundred movies, Capra, Reed, and Stewart have all cited It’s a Wonderful Life as their favorite movie. In his autobiography, The Name Above the Title, Capra took that praise even one step further, writing: “I thought it was the greatest film I ever made. Better yet, I thought it was the greatest film anybody ever made.”

10. THE MOVIE BOMBED AT THE BOX OFFICE.

Though it has become a quintessential American classic, It’s a Wonderful Life was not an immediate hit with audiences. In fact, it put Capra $525,000 in the hole, which left him scrambling to finance his production company’s next picture, State of the Union.

Continue reading here.

SOURCE: Mental Floss


RELATED PROGRAMMING

IT'S A WONDERFUL LIFE | DEC 06-21