“It’s A Wonderful Life :Live In Chicago” reviewed by Julia W. Rath

***** American Blues Theater once again welcomes audiences into the world of Bedford Falls with its 24th anniversary radio version of “It’s a Wonderful Life: Live in Chicago!” In its third year at the company’s permanent home on North Lincoln Avenue, this production is brighter than ever. Powerfully directed by Wendy Whiteside, the show cleverly reimagines Frank Capra’s classic film as a 1944 live radio broadcast, complete with “On Air” and “Applause” sign cues. Patrons become the studio audience at WABT and are immersed in a festive atmosphere before the broadcast begins. This is when we are treated to several holiday songs including a Christmas (and Chanukah) song guessing game. This is also when we are introduced to the multi-talented musical director Michael Mahler. His ability to move effortlessly between piano, acoustic guitar, electric guitar, and harp while serving as the radio program’s announcer and accompanist is nothing short of astounding. He introduces the performance and explains how he and the other gifted actors will shift seamlessly between characters and often echo the voices from the original film.

The narrative highlights the timeless story of George Bailey, whose struggles with fate ultimately reveal the profound impact one person can have on countless lives. Brandon Dahlquist anchors the production with his heartfelt portrayal of George, capturing both his despair and resilience. He is joined by a strong ensemble: Audrey Billings as Mary Bailey, Manny Buckley as Joseph and Uncle Billy, Justin Banks as Harry Bailey, Ian Paul Custer as Mr. Potter and Clarence, and Dara Cameron as Violet and the charming Zuzu. In addition, each actor plus Mahler plays an array of minor characters. Also prominent is foley artist J. G. Smith, whose inventive sound effects bring the radio illusion vividly to life. For example, her work in the icy pond and bridge rescue scenes underscores the symbolic weight of George’s sacrifices, adding unexpected depth to familiar moments.

This year’s adaptation features a bit less of the Wainwright and Violet subplots and some minor changes to the heavenly banter between Clarence and Joseph. Grant Sabin’s scenic design and Elyse Dolan’s set dressing and props design transport audiences to mid-century America. I was particularly fond of the dark teal couch at center stage and the five Christmas trees and other decorations, which added to the holiday spirit. Costumes by Christopher J. Neville and Lily Walls are nicely authentic and fitting. Lighting design by Katy Peterson Viccellio is especially notable, such that all-green or all-gold or all-red colored lights are shone onto a silver drapery in the back of the set to serve as a change of scene. I especially liked when Dolan, who also doubles as the projection designer, cleverly flops the small letter “S”, the small “L”, and large “L” when show’s title is projected on a black and white slide during the time period when George goes into his altered-state universe. Sound design is good, but on opening night, it took maybe twenty minutes into the show to get the mix just right, as one microphone was much hotter than the others, and the whole performance started out much too loud. Should I add that there was an initial issue with the “On Air” and “Applause” sign too? At first, it wasn’t clear if it was lighting up at all…. But the third time’s the charm! Despite these minor glitches, the audience was impressed. It was enthralling to see how the actors’ unique chemistries and musical harmonies built on each other, adding vital energy to the presentation. And by the way, Santa Claus is expected to make an appearance starting on December 21st!

What makes this production of “It’s a Wonderful Life” unique is not only in the thoughtful way that it returns the audience to the simpler time of the 1940s, but also by including all sorts of musical bits and gags at the very beginning and during two commercial breaks. To my mind, the most exciting act on opening night took place towards the onset when the audience was asked to shout out the name of a performing artist followed by a Christmas song that we’d like to hear sung in that particular style. Members of the audience happened to call out the names Lin Manuel Miranda, AC/DC, and Taylor Swift in that order (obviously representing three different musical styles), and Mahler then treated us to quite the performance! Later, we hear all sorts of radio commercials—again written by Mahler—featuring jingles for all sorts of products and services, ranging from the Illinois Arts Council to U.S. Bank. Audiograms, which are messages that audience members write to honor loved ones, are also read aloud by the cast at this time. This interactivity binds everybody in the room together and enhances the content of the original story.

While this familiar holiday staple continues to be a must-see for Chicago audiences and for those traveling to the Midwest, I do have a question however: Is the underlying tale about the Bailey Brothers Building and Loan too quaint and unrelatable in the present-day? Can we truly comprehend what this institution once meant to the residents of Bedford Falls? In my opinion, at a time when our country finds itself rife with political divisions and facing an uncertain future, “It’s a Wonderful Life” is a joyful reminder that people will pull together during troubled times to help each other out. The show demonstrates the warmth of friendship and the importance of family and community and what it means to be of service. Above all, this is a story of hope with an ending which is stirring whether you believe in the supernatural or not—or whether you believe in guardian angels or not. It demonstrates the value of each individual and how we touch other people’s lives in ways that we cannot even imagine. And like George Bailey himself, audiences leave reminded that even when the chips are down, life can still be wonderful. And we all have so much to be thankful for.

“It’s a Wonderful Life: Live in Chicago!” is playing at the American Blues Theater, 5627 N. Lincoln Ave, in Chicago, through December 28, 2025.

This family-friendly 90-minute performance is recommended for audience members ages 10 and up.
Arrive at least 15-20 minutes before curtain to fill out audiograms, enjoy preshow music, play games with the cast, and have other interactive fun.

Tickets range $34.50 – $94.50, with no ticketing fees

Six VIP tickets are available per performance for an added $30 per ticket order. VIP seating includes complimentary parking, leather chairs in a dedicated area, and bar service to your seats, and two drinks.
Performance schedule:

Performance schedule:

Thursdays and Fridays – 7:30 p.m.
No performance on Thursday, December 25th (Christmas Day)

Saturdays – 4:00 p.m. and 7:30 p.m.
No 7:30 p.m. performance on Saturday, December 6th.

Sundays – 2:30 p.m.

Extra performance: Wednesday, December 3rd – 2:30 p.m.

SPECIAL ACCESS EVENTS – $34.50 ticket – code ACCESS
Touch tour: Sunday, November 30th – 1:30 p.m.
Audio described performance: Sunday, November 30th -2:30 p.m.
American Sign Language-interpreted performance: Friday, December 5th – 7:30 p.m.

For more information and to purchase tickets, visit: https://www.tickettailor.com/events/americanbluestheater/1879011 or call 773-654-3103.

For general information about American Blues Theater and to learn about their other offerings, go to: https://americanbluestheater.com/.

For accessibility requests and for patrons requiring special parking accommodations, please call 773-654-3103 or email BoxOffice@AmericanBluesTheater.com.

Note that parking in their lot is extremely limited. Reserved parking is available in their lot for $15 per car and must be purchased in advance, subject to availability. Individuals with accessibility needs may reserve accessible parking at no cost.

There is limited free parking available on Lincoln Avenue and some surrounding side streets.

For additional questions, check the FAQs first at https://www.flipsnack.com/americanblues/2025-it-s-a-wonderful-life-live-in-chicago-faq/full-view.html. Feel free to follow up by calling the box office at 773-654-3103 or by emailing Info@AmericanBluesTheater.com.

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “It’s A Wonderful Life: Live In Chicago”.