Junior Theatre’s ‘L’il Abner’ Solid, Charming

Subjects may pass in and out of date, but charm is the steamer that renders the stalest story fresh. And “L’il Abner,” the latest offering of San Diego Junior Theatre, playing at the Casa del Prado Theatre through Sunday, is long on charm--a quality that endows the marriage-hungry mentality of Daisy Mae, the shaky registers of the teen-age principals and even the long (2 1/2-hour) running time with a poignant cast that only adds to the sweetness of this old-fashioned musical favorite.

The story, based on the comic strip “L’il Abner” by the late Al Capp, takes place on a small tract of hillbilly land called Dogpatch, where the shapely Daisy Mae pines for the reluctant L’il Abner’s not-so-little hand in marriage.

Complications ensue when Dogpatch’s government representative volunteers Dogpatch as being the perfect site for nuclear bomb testing by virtue of its general worthlessness.

Spike Sorrentino, who is new to the San Diego Junior Theatre, directs his cast of nearly 40 like an old pro, keeping a deft hand on the pacing and eliciting a sensitivity from the young actors that makes the ensuing search for something worth saving in barren Dogpatch not just funny, but touching.

When Abner’s mother, Mammy Yokum, temporarily saves the day by coming up with her valuable Yokumberry Tonic that metamorphoses weaklings into muscle-bound L’il Abners, the tension builds as the potentially valuable tonic makes Abner a target for the money-mad General Bullmoose and his moll, Appasionata, who is eager to wed the soon-to-be-wealthy Abner and see him dead.

The strength of the cast is concentrated in the character parts. While they are, as was noted, charming, Kami Wible and Darien Webster seem a wee bit intimidated by their starring roles as Daisy Mae and L’il Abner. In contrast, Bill Dailey as Marryin’ Sam, Kent Fitzgerald as Sen. Jackass Phogbound and Peter Fulton as Available Jones eat the scenery with a relish that in the young performers is a pleasure to see.

The most adept physical movements are by Llance Bower, who slides with sinister glee as Evil Eye Fleagle, and Kylie Grant, who brings to Stupefying Jones the sweetly sensuous bumps of a Marilyn Monroe-in-training. And eye-catching for all of her all-too-brief moments on stage, tall, lithesome and beautifully costumed Jennifer Fulton brings a comic virtuosity to the wiggling, giggling Appasionata that belies her years.

The crisp and sparkling musical direction by Hollace Koman of the Gilbert & Sullivan Company keeps the beat from drowning in the two leads’ vocal flaws. The chorus, in contrast, is remarkably strong.

The choreography by Marianne Regan surprises with some nice touches that are accomplished without the complications that would have been awkward for this group, which is obviously not a crew of high-steppers. Particularly clever is the fishing scene in which most of the steps are done with stomachs on the ground and legs scissoring in the air.

The cartoon-like sets, arranged under the technical and design direction of Robin C. Stevens, range from the inspired to the serviceable, while the costumes, mostly culled by Carolyn Stevens and Mibs Somerville from the junior theater’s two previous productions of “L’il Abner,” delight with inventive bursts of color and style and are highlighted by the wonderfully wacky hair designs.

The second show in the San Diego Junior Theatre’s 40th anniversary year, “L’il Abner” is a big step up from their last offering, the meandering “Here’s Love,” which could have been as aptly named “Here’s Tedium.” In welcome contrast, “L’il Abner” holds up a standard for the theater that bears following.

Performances at 7 p.m. Fridays and matinees only Saturday and Sunday at 2 through Sunday . At the Casa del Prado Theatre in Balboa Park, San Diego.