THE SINGING IS A VIRTUE IN ‘BOYS FROM SYRACUSE’

If you are in the market for a pretty good college-theater revival of Rodgers and Hart’s “The Boys From Syracuse” (1938), such is to be had at the Doolittle Theatre, for a lot more money than it would cost to see it on campus.

It’s part of a UCLA venture called Musical Comedy/L.A., directed by George Schaefer. The idea is to do lightweight summer musicals at the Doolittle--shows that don’t blast you out of your seat. Jerome Kern’s “Leave It to Jane” (1917) joins “Boys From Syracuse” in repertory on Saturday.

This kind of material can be particularly happy in the hands of a young company, which this is. But Schaefer didn’t, in interviews, want anyone to confuse Musical Comedy/L.A. with undergraduate theater or summer stock. This was professional resident theater.

Fair enough. But “Boys From Syracuse” at the Doolittle on Friday was very much what it would have been at MacGowan Hall. In a way, that’s a compliment to MacGowan Hall. But we expect more for our money downtown. (This show has a $30 top.) As professional theater this show rates somewhere around a C.

Its best feature, and no small virtue in a Rodgers and Hart show, is the singing. The voices are light, fresh and accurate, “legitimate” voices that don’t strain to be operatic. Craig Bierko’s tenor is especially sweet in “You Have Cast Your Shadow on the Sea,” and “Sing for Your Supper” is merrily warbled by Susan Kohler, Michelle Nicastro and Elinore O’Connell. Conductor Samuel Krachmalnick also insists that the chorus make itself understood. If it weren’t for the ghastly wheeze of the synthesizer in the pit, making the show’s ballads resemble something you’d hear on the merry-go-round at the Santa Monica pier, this would be a truly musical comedy.

As a musical comedy it works much less well. George Abbott wrote the book, after Shakespeare and also after Weber and Fields. Michael Tucci is the only male player who seems even to recall Abbott and Costello. He makes a funny, dark, determined slave.

The other fellows run around hoping for laughs, which is not quite the same thing. Bierko, of the beautiful tenor voice, is particularly awkward physically. Director Michael Montel should have organized a field trip to the Pantages’ “A Funny Thing Happened on the Way to the Forum.” That gang at least picked up its cues.

As often happens in undergraduate theater, the women are more centered than the men. O’Connell isn’t chunky enough to play the butterball, man-hungry Luce, but she does so with the zest of a young Nanette Fabray. Patty Tiffany socks out a forgettable number called “Oh, Diogenes” with so much confidence that it stops the show.

Nicastro is a lovely, vulnerable Luciana, the only person in the story that we care about, or are supposed to. One looks forward to seeing her as the heroine in “Leave It to Jane.”

The dancing on Friday night seemed to be a work in progress--the company went through its steps without necessarily endorsing them. (Jason Ma was the choreographer, supervised-- a rather insulting term--by Onna White.) The set (by Roy Christopher) suggested neither a 1938 cartoon of an ancient town nor a 1987 one: I’d date it at about 1965. The costumes (by Sylvia Moss) looked skimpy. The lighting (by Marilyn Rennagel) looked flat.

It wouldn’t be fair to say that the show fell flat. For some of us, any Rodgers and Hart is better than no Rodgers and Hart, and there are some talented youngsters on view here. But one hopes for more from “Leave It to Jane,” which also promises to use the original 1917 orchestrations.

‘THE BOYS FROM SYRACUSE’ A revival of the 1938 musical, presented by Musical Comedy/LA at the James A. Doolittle Theatre. Music Richard Rodgers. Lyrics Lorenz Hart. Book George Abbott, after Shakespeare’s “Comedy of Errors.” Producer George Schaefer. Director Michael Montel. Music director Samuel Krachmalnick. Choreographer Jason Ma. Choreography supervised by Onna White. Scenic design Roy Christopher. Costume design Sylvia Moss. Lighting design Marilyn Rennagel. Additional orchestrations and dance arrangements Lucas Richman. Production stage manager Jay B. Jacobsen. Casting Sheila Guthrie. With Rick Pessagno, Anne Marie Roller, Jeff Austin, Adam M. Shankman, Chuck Wagner, Michael Tucci, Mark Trent Goldberg, Craig Bierko, Matt Landers, Jack Ritschel, Roger Castellano, Al Checco, Daniel Riordan, Elinore O’Connell, Susan Kohler, Michelle Nicastro, Bill Mullikin, Patty Tiffany, Theresa Hayes, John Putch, Shelby Grimm, Leila Hartman, Kathy Wood, Dana Stevens, Anne Marie Roller, Jody Peterson, Rick Pessagno, Rachelle Ottley, Kathleen McCarty, Jason Ma, Lynmarie Inge, H. David Gunderman, Christopher Benson, Karen Benjamin, Tony Barbato, Robert Winn Austin. Plays in repertory with “Leave It to Jane.” Performance schedule: July 21-24, Aug. 1-6., Aug. 15 and 16. Performance times: Tuesdays-Saturdays at 8 p.m., Sundays at 7:30 p.m., with Saturday-Sunday matinees at 2 p.m. Tickets $10-$30. 1615 Vine St. (213) 410-1062.