It was just about this same time in November 2006 that I scratched my head and posed the following question: "Considering all the junk that makes its way to the Broadway stage these days, from adaptations of flimsy films like 'The Wedding Singer' to ill-conceived homages to performance idols like Elvis Presley in the 2005 disaster 'All Shook Up,' why hasn't 'It's a Wonderful Life' ever made it to the Great White Way?"

That year marked the 60th anniversary since the famed Frank Capra film starring Jimmy Stewart, Donna Reed and Lionel Barrymore premiered in 1946.

I know this film used to get endless airtime on television a few year back (before the Grinch aka Ted Turner bought the rights and began charging top dollar to air it), but still, I always thought this movie never received much fanfare in the press. Of course, the film also starred our own region claim-to-fame, actress Beulah Bondi, who hailed from Valparaiso and graduated from Valparaiso University, as Stewart's mother in the movie.

However, this story is currently getting its due in musical form on stage at Munster's Theatre at the Center running now through Dec. 21.

The favorite tale of George Bailey and Clarence the Angel deserves to attract full houses of eager audiences ready for a few hours of laughs, warm, inviting sets and a simple story of pure hope and faith in those around us.

This production gives the story a musical spin, with a score that is a collaboration from Pulitzer Prize- and Tony Award-winner Sheldon Harnick and Grammy and Emmy Award-winner Joe Raposo.

Yep, it's still set in the small town of Bedford Falls in the 1940s, and much of the story is the same, with the exception of the plot's being pushed along with song and choreography.

Don't expect this to be a carbon copy of what is so familiar unfolding in the film version. It's similar, but this version includes a few different staging twists here and there.

For example, rather than George saving his little brother from drowning, he saved him from being hit by a car.

There's no dramatic bridge scene in this particular adaptation; instead, it's facing fate on railroad tracks.

But trust me, these details do not hinder this beloved plot in any way.

I will say that a couple of the songs did seem to be "thrown in" just as an excuse to allow the cast to suddenly launch into random singing, dancing and cavorting, such as the entire musical number devoted to linguini. Yes, that linguini, as in the noodle. So, unless you have some type of pasta fetish or just happen to come to the theater hungry, I think you'll agree that it's one of the songs that could easily be scrapped.

I've seen this stage musical presented a few times over the years, including community theater productions in Valparaiso and regional versions in Chicago.

Which brings me to another of my frustrations in every incarnation of this show I've ever seen.

It's the temptation for the actor cast as Clarence, the fumbling guardian angel, to play the role in such an obviously dim-witted fashion that it distracts from the performance.

For Theatre at the Center's production, the terrific James Harms (who I usually love) plays Clarence, and, unfortunately, he plays the role so over-the-top (complete with a blank stare for much of the play), it appears that Clarence suffers from brain damage or a lobotomy.

The rest of the cast is heavenly. Rod Thomas gives a strong performance as George Bailey, and Natalie Ford is in great form as Mary Hatch.

The supporting cast includes top-notch veteran actors Dale Benson as Angel Joseph and Skip Lundby as a believable wheelchair-bound Mr. Potter.

Founded in 1991, Theatre at the Center has grown into a year-round professional equity theater at its home, The Center for Visual and Performing Arts, 1040 Ridge Road, Munster. It's conveniently located off I-80/94, just 35 minutes from downtown Chicago.

Tickets are $36 to $40 and available at (219) 836-3255 or theatreatthecenter.org.

The opinions expressed are solely those of the writer. He can be reached at ppotempa@nwitimes.com or 219.852.4327.

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