STAGE REVIEWS : REVIVED ‘DRUNKARD’ IS A SHAKY FARCE

During the late 1800s, the melodrama was one of the most popular stage entertainments. But as audiences grew more sophisticated, these simple morality tales were abandoned for more challenging fare.

In an unusual theater experiment, the Orange Coast College drama workshop has resurrected an 1844 melodrama as an original musical farce. The outcome is “The Drunkard--Or Don’t Shoot the Piano Player,” an ambitious project that delivers mixed results.

Composer Peter Odegard (a music professor at UC Irvine) and lyricist Alex Golson (an OCC drama instructor) reworked William H. Smith’s “The Drunkard” by adding 17 songs. They range in style from the pop tunes of the mid-1800s to contemporary rock. Unfortunately, most are undistinguished--one of the few exceptions is “Maiden’s Lament,” a lilting look at feminine vanity--but at least they snugly fit the plot.

The story is typical melodrama: A weak but good-hearted “hero” is plagued by alcoholism and becomes prey to a villain (played by Odegard) who covets his wife and possessions. The dutiful wife, with the help of the hero’s brother, thwarts the villain’s plans. As the audience hisses and cheers, good conquers evil.

Golson, wearing a second hat as director, faithfully recreates the atmosphere of an old-fashioned music hall at OCC’s Drama Lab Theater by offering small “curtain-raiser” acts and sing-alongs at the start and after intermission. These jaunty tap dancing numbers and vaudevillian routines provide some of the production’s best moments. To ensure crowd participation, Golson sends dancers and actors up the aisles to cajole the uninvolved.

The musical itself, however, is spotty. For one thing, it’s too long; more than two hours of cliched melodrama, even one laced with songs, is a bit much. A steady spate of gags helps some, but even the slapstick gets tiresome. Although spirited, the singing is uneven and fails to create the needed momentum.

It’s hard to judge the acting because every gesture, every line is exaggerated for effect. But standouts include Rich Jackson as William, the hero’s ever-so-good brother; Julie Dixon as Mary, the ever-so-sweet wife, and Harriet Whitmyer as Miss Spindle, the ever-so-vain spinster. Bradford Bowen’s hero is a little too manic, especially during his drunken binges, and Odegard’s black-hearted Cribbs, while sufficiently menacing, barks lines and lyrics, often making them hard to understand.

“The Drunkard--Or Don’t Shoot the Piano Player” runs through Aug. 24 at OCC’s Drama Lab Theater near Fairview Road in Costa Mesa. Call (714) 432-5527 for more information.

‘CAROUSEL’

“Carousel” at the Buena Park Civic Theater starts out as a pretty wobbly ride. But a handful of fine performances eventually overcome the initial rockiness to make it a tender revival of one of Rodgers and Hammerstein’s most enduring musicals.

Director Anthony Farone has trouble with the early scenes, particularly the opening number when the cast tries to set the carnival tone with a prolonged mime routine. The sequence goes on too long, the stage is too crowded, and, instead of creating atmosphere, it only confuses. The first moments between carrousel barker Billy Bigelow (Stephen McAndrew) and dewy love interest Julie Jordan (Lynn Dove) also lack the convincing passion needed to make their sudden marriage seem plausible. But once this joining of rascal and maiden is done, Farone draws in the reins and the show picks up considerably.

The story follows the couple’s travails as Billy, unable to settle down, takes to staying out late, mixing with rough types and cuffing his adoring wife. Billy’s not really a bad guy, just confused and prone to excesses. Julie’s not really stupid for putting up with him, just a victim of foolish love.

After the early lapses, both McAndrew and Dove settle down to sketch effective portraits of their characters. McAndrew, with his full-bodied singing and able acting, reveals Billy’s moral struggle and even makes him likable, not a small feat. Dove’s melancholy voice and gentle style correctly evoke Julie’s pain and strength.

The most amusing roles belong to Lynne Levine as Carrie Pepperidge, Julie’s wild-eyed best friend, and Robert Lee Tucker as Enoch Snow, Carrie’s persnickety husband. With vivacious singing and acting, Levine swipes just about every scene she’s in. Tucker’s eccentric mannerisms make Enoch a lovable, dreamy bumbler, and the scenes he shares with Carrie are the musical’s best.

“Carousel” runs through Aug. 30 at the Buena Park Civic Theater, 8150 Knott Ave., Buena Park. Call (714) 821-1394 for more information.