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By engaging us with the artifice, we root for the performers to pull off their tasks. There's joy to be had even in watching someone switch voices — Jonathan Croy as both the mellifluous staff announcer and snarling villain Mr. Potter, for example, or Jennie M. Jadow as Bailey's mother-in-law and toddler Zuzu, who's got the sniffles — and even more charm in the occasional carol performed for the radio audience.

Jennie M. Jadow takes on all of the other women in the radio play with pizzazz. Her roles range from George Bailey’s strict, no-nonsense mother, to Violet Bick, the high school slut whom George defends and whose loyalty is never in doubt. She plays both of George’s daughters, his stuffy sister-in-law and others as well. Jadow has a wonderful array of voices at her command and there is never any mistaking who she is playing at any moment. As her principal character, Lana Sherwood, she is the perfect professional strutting through the studio like the pea-hen she is, her acquired peacock feathers in full array.

He played a dozen roles, as did favorite Jonathan Croy and the amazing Jennie M. Jadow. These chameleons changed accent, tone and cadence from one character to the next like racers taking the hairpin turn on the Mohawk Trail.

Molière’s farce L'Etourdi, ou Les Contretemps, often translated as The Blunderer, is currently tearing up S&Co’s Rose Footprint tent theater under the title Les Faux Pas, or The Counter-Plots…featuring the usual comic types, including jealous lovers, a tyrannical father-figure and a clever, rapscalliony servant. Jennie M. Jadow plays the latter in a nifty piece of cross-gender casting, alternately plotting and panicking.

As his younger, crazier, sister Bélise the actress Jennie M. Jadow delivered the most wonderful manic performance imaginable. This character never hears what is being said, but only what she imagines must have been said. Mostly she hears that she is loved and desired, and not just for her intellect but for her body as well. Never have I seen an audience so dearly want to applaud an exit, every one of her exits, and yet feel the need to resist their own reactions. Dorothy Loudon, that superb clown who once took sixteen minutes to cross a small corridor on stage - perhaps seven feet of space - and only succeeded when the applause and laughter began to wane a bit, could not have been a more perfect actress for this role than Jadow proves to be. Her comic gifts are well displayed in this role.

As Belise Jennie M. Jadow is so comically gonzo that she steals every scene she appears in. Measured by audience reactions, and spontaneous bursts of applause, she is the ersatz star of the show. This is neatly emphasized by an insanely zany costume, a riot of Valentine reds and bon bons. Comic frenzies of passionate, but unreciprocated love have her crashing into and chewing on the scenery.

In another triumph for the comedic Jadow, she and Joeck engaged in a mirror exercise of sight and sound, an extended bit of lazzi where the mad, lovesick aunt was mocked by the enraged father; this was just before intermission, and created peals of laughter in the audience. The two were the visual and aural equivalent of a Pixar animated film. Jadow frequently vocalized so that a simple “well” became a whole iambic pentameter line that seemed to double back and rhyme with itself. It’s a winning performance in a play to warm even the dreariest winter’s day.

Within the 11-member cast the gamut is best represented by two of the three sisters—from Jennie M. Jadow's operatically deluded Bélise…

The supporting cast delivers standout performances across the board. … So is Jennie M. Jadow as Audrey, a cheerfully dim “country wench’’ who is wooed and won by Touchstone, not that it takes much wooing.

Epstein is … a particular delight, however, in his playful scenes with Jennie M. Jadow's appealing Audrey.

The comic relief in this staging simply has to be seen to be appreciated. Humorous touches, delivered with on-cue precision by several cast members entrusted with the lion's share of creating jollity, need to be mentioned. They are… and Jennie M. Jadow as the lusty Audrey.

The romance between Touchstone, the amusing clown played with wry wisdom by Jonathan Epstein and Jennie M. Jadow’s earthy Audrey is bawdy fun.

A surprise is the performance of Jennie M. Jadow as the shepherdess Audrey. In the role she manages every kind of physical pratfall and manipulation and in the "Lover and His Lass" number proves herself as artful a "scat" artist as Ella Fitzgerald.