OGDEN — One hundred years ago, the Peery Egyptian Theatre opened its doors for the first time. Stepping inside this historic building in Ogden today to watch The 1940’s Radio Hour is like taking a step back in time. The production is brimming with lively, nostalgic energy, transporting the audience to an era of swing music and wartime resilience united communities. Director Maurie Tarbox picked this show because today’s audience can relate to those wartime patrons. We feel uncertain about the future of our country and long for a short escape into a place full of music and laughter.
Written by Walton Jones, The 1940’s Radio Hour first premiered in 1979, drawing audiences into the golden age of radio entertainment. Set on December 21st, 1942, the play encapsulates the spirit of World War II America, blending humor, drama, and the era’s classic songs. It is a play within a play and also with a large ensemble cast. So rather than following a main character with a story arc, the script attempts to recreate the camaraderie that radio entertainment provided during the war. Set in a small New York City radio station, the cast and crew prepare for a live broadcast of a holiday variety show. The audience becomes the studio’s “live audience,” witnessing the chaos, quirks, and fellowship behind the scenes.
The set design by Silas Stott quickly brings the audience right into the show’s action. The studio is set up with the live musicians upstage and a space for the performers at the mics across the front of the stage. The period phones, a classic Coca-Cola machine, and tinsel decorations quickly set the period. Large letters along the back shine with the radio station’s call sign: WOV.
The sound design by Jonah Hogg helps to set the wintery scene, as the sound of blizzarding wind comes through the door, and each character enters the scene from the outside door. The period clothing by costume designer Shelly Burkhardt also brings the audience back in time to WWII. The women’s dresses range from a young teenager look to a more working class and even include dresses for starlets. The wig design by Cindy Johnson is particularly beautifully accomplished for characters Ann and Ginger giving them WWII-era signature hairstyles. As each of the four main women walked on stage their costumes spoke volumes about their character before they even started to sing, clearly marking who is the perky novice and who is the diva.
The cast of this production are stellar in their roles. Trying to herd all of the actors into doing their jobs is the station manager Clifton A. Feddington (Todd Wente) who emcees the radio show in a Bob Hope style. Wente’s performance is the glue holding the show together. Wente is charismatic when he is on the mic during the show within the show, balancing professionalism when doing commercials for ridiculous products compared to comedic exasperation at the radio cast when things go awry.
My favorite performance of the night was by Ann Collier (Becca Lichfield). As Collier, Lichfield’s solo “Have Yourself a Merry Little Christmas” gave me chills. Lichfield’s voice has gravitas as she uses an excellent Midatlantic accent and displays poise and emotional depth along with phenomenal vocals during this climactic performance. The number pricks the heart with nostalgia like a needle–piercing each audience member individually, as well as binding us into the quilt of the collective experience. The Spirit of Christmas Past is overwhelming when thinking of what the song would have meant to a 1942 audience.
Also delivering impressive vocals was Connie Miller (Kiersten Langford). Langford’s small frame and bubbly enthusiasm are adorable. Her constant chugging of Coca-Cola and doe eyes are charming as she sings “I Got It Bad and That Ain’t Good”.Connie shares a cute relationship with BJ Gibbson (Logan Morrill). Morrill and Langford had great chemistry throughout the show making you root for young love.
The character of Johnny Cantone (Connor Padilla) is one of the few places I felt the performance lacked something. The character of Johnny is a suave, but slightly washed-up crooner, who just missed his shot to be another member of the Rat Pack. Padilla’s look is spot on and his acting is fantastic, with a mix of charisma and vulnerability adding depth to the show’s lighter moments. However, Padilla’s vocals, while on-pitch and displaying a nice tenor voice, lack the jazz intonation used by singers like Sinatra, Davis, or Martin. This may have been an acting choice since by the end we know Johnny didn’t have what it took to go to the next level, but I was left wanting some of that Ol’ Blue Eyes flare during his solo “Love Is Here To Stay.”
Ginger Brooks (Maddie Tarbox) felt like a Marilyn Monroe-type of character, with platinum blond curls and wearing a glove-like gown hearkening to Monroe’s Mr. President dress. Tarbox provides a lot of comic moments throughout the show with a slightly ditzy and flirtatious personality. Maddie Tarbox’s performance of the solo “Blues in the Night” was wonderful as choreographer Marilyn Montgomery used the men of the show as backup dancers. The choreography calls back to dance numbers like Monroe’s “Gentlemen Prefer Blondes,” looking funny and delightful.
Neal Tilden (Nick Morris) and Wally Ferguson (Kaplan Keener) are characters that stand out as some of the funniest men on stage. Keener’s facial expressions in particular had me rolling. While Keener has very few lines, his boyish and earnest energy drew my eyes to him constantly.
Possibly the most important character on stage was Zoot, played by music director Kenneth Plain, the leader of the live band on stage. Plain’s conducting of the band from the piano gave a steady, rhythmic foundation to the show. Having the live band situated on stage brought this music to life in a way that recordings never could. The musicians are a vital part of the production, seamlessly blending with the actors and amplifying everything in the performance. As a trumpet player myself, I was particularly keyed into the brass section which wailed during the big swing numbers like “Boogie Woogie Bugle Boy.” The use of mutes was also interesting during some of the songs and added more flare.
I enjoy the many Christmastime musicals that are done year after year, but this is the first time Utah Theatre Bloggers has reviewed The 1940’s Radio Hour. I had never heard of the show before, but I would gladly go see it again. The show put me in the Christmas spirit in a refreshingly different way. It reminds us of the resilience and joy that music brings during hard times. Whether you’re a fan of vintage tunes or not, the nostalgia, warmth, and laughter provide a fantastic night at the theatre.
