Story goes…an old-time-styled full-length radio show, which is home-based in a swell old theater, is being cancelled. The theater where they have broadcast from has been purchased by a big company and the show must go. The faithful audience is unaware that they are there for the last broadcast. It’s all very non celebratory and sad.

But, as the saying goes,” The show must go on,” and boy does it; on and behind the stage as we meet the show’s regulars; the ensemble cast and crew. The theater is a buzz with both the energy of the show as usual, and the knowledge that they may be through as a group effort.

While they all try to stay happy spirited and move forward for this farewell concert/show a strange woman (Virginia Madsen) shows in a white trench coat. Her odd all-access meandering does not go unnoticed by the show’s security man, Guy Noir (Kevin Kline). Noir fancies himself as a Sam Spade-y Chandler-esque sort of suave sleuth, and he’s on the trail of the backstage crashing angelic lookin’ dame.

Meanwhile, two sisters Yolanda and Rhonda Johnson (Meryl Streep and Lily Tomlin) prepare for their act, and reminisce about the closing show and their long history in the business with Yolanda’s melancholy daughter (Lindsay Lohan).

Those familiar with the real Prairie Show will have added pleasure as Guy Noir, along with a few equally familiar Keillor creations are embodied and embellished by perfectly cast tangible talents, and real life folks from the beloved show stroll around the set.

Every character we meet is so well crafted, they seem as if they’ve worked in that theater, and on that show, for its run. That is in no small part because of the depth each brings to their celluloid self, and director Robert Altman’s voyeuristic panache. Two mega-talents (the kind that make little girls want to grow up to be actors), Lily Tomlin and Meryl Streep are magnificent. By the film’s end you not only believe the two are stage babe sisters, but you worried for their futures once the show closed. While, Woody Harrelson and John C. Riley, show as the signin’ cowhands act. These bucks also had that chemistry of a long history, and true to their mosey-along through life characters, you knew they’d manage just fine after the last curtain call. And, Kevin Kline – who needed redemption after that filmatic faux pas of The Pink Pain, er, Panther- is just off the stratosphere as the wacky wonderful Noir fella. I reupped my Kline Fan Club membership, and have firmly forgiven…Maya Rudolf is subtly hilarious as the abused show coordinator. And Lindsay Lohan holds her own with the “goddesses of performance” grandly.

The men behind the magic, Keillor and Altman, have woven a beautiful tale for you; and the crew behind them (like director of photography Ed Lachman, and musical maestro Richard Dworsky), the fore mentioned talents, help bring the whole piece vividly to life. Enjoy.

Snack recommendation: Van DeCamps Prairie-Style beans–n–franks, with Beboparebob rhubarb pie, and a mug-o-Munich beer.