A Chamber Musical at Tiffany; ‘Chamber of Bells’ at Little Victory; ‘Hamlet Improvised’ at Theatre/Theater

“In 5 . . . ,” a chamber musical at the Tiffany, demonstrates that there are still signs of life in two done-to-death subjects: the struggles and temptations of young hopefuls in showbiz, and the difference between the smiling public face of a kidvid performer and the adult personality he displays offscreen.

The deja vu quality of the subjects is overcome by a casting that hardly anyone has vu . One of these kiddie TV hosts, Russell Corbin (Kevin Peter Hall), is 7-foot-2 and black, and the other, Ben Cohen (Jay Fenichel) is 5-foot-6, white and Jewish. Hall and Fenichel, intermittent collaborators since college 15 years ago, translate their friendship and their odd-couple looks into mild, affable comedy.

In Fenichel’s book, Russell and Ben argue about their goals, in between shooting segments for their TV show. Russell has written a play about South Africa that has just opened. Ben is busy trying to get better network gigs for the two of them, simultaneously coping with demands to insert objectionable commercial messages into their kiddie material. The conflict between writing art and becoming rich and famous is beginning to tear their friendship apart.

The juxtaposition of the friends’ skirmishes next to their TV segments--which often deal with similar issues in a juvenile, upbeat way--is cleverly handled. And the essential likability of these guys saves the show--we want to believe in their friendship.

Much of the show is sung. Kirby Tepper’s score, directed by Corey Allen, moves the show along with wit and invention, though it fits Fenichel’s voice more comfortably than Hall’s. Ron Link directed on a colorful, detailed kiddie-show set, designed by Fred M. Duer and lit by Brian Bailey, with costumes to match, designed by Pat Venderbeke Taylor.

The music and even the subject are occasionally reminiscent of “Mail.” But “In 5 . . . “ is much more compact--it lacks an intermission and lasts barely more than 90 minutes. “In 5 . . . “ is appropriately proportioned; the leads never wear out their welcome.

Performances are at 8532 Sunset Blvd., Thursdays at 8 p.m., Fridays and Saturdays at 7:30 and 10:30 p.m., Sundays at 7:30 p.m., through Aug. 14. Tickets: $12-$15; (213) 652-6165. ‘Chamber of Bells’

Caves are scary places. As two spelunkers try to find the legendary “Chamber of Bells,” in Leonard J. Meenach’s play of the same name at the Little Victory, the experience dredges up all their fears, psychological as well as physical.

They’re afraid of the dark--and being left alone in it. They’re afraid of life--and being left alone in it. The situation is ready-made for a certain level of theatrical excitement, and Judith Royer’s staging occasionally delivers it. Still, this is far from the definitive cave play.

First, it’s hard to accept a basic premise: that these two men (John Shull and Arnie Krauss) are best friends. It isn’t just that they heap verbal abuse on each other; it’s that they hardly seem alike or related in any way. Their conversation takes odd turns that seem calculated to hammer home the male bonding, but it remains unclear why either man would choose the other as his bonding companion.

The casting hasn’t helped clear this up, adding what looks like an age difference to all the other differences.

Second, Martin Zboril’s set, described in a press release as “expressionistic,” instead looks merely fake, like something that might be in front of a curio shop on Route 66. Supposedly a mile beneath the surface, this cave comes complete with convenient benches, and many of its “rocks” are curiously thin and tailored. A spattering of white paint looks like white paint.

Why be “expressionistic” in such a non-expressionistic play? Tim Chilton’s sound design is more realistic and adds a legitimately eerie element.

Performances are at 3324 W. Victory Blvd., Burbank, Thursdays through Saturdays at 8 p.m., Sundays at 7 p .m., indefinitely. Tickets: $12-$15; (818) 842-9253 or (213) 465-0070. ‘Hamlet Improvised’

The larger space at Theatre/Theater is the home of “Daddy’s Dyin’ (Who’s Got the Will?).” The smaller space in back has just become the home of an entertainment that might have been called “Daddy’s Dead (Who’s Got the Kingdom?).” Its real name is “Hamlet Improvised,” but “Daddy’s Dead” would reflect the tone of this improvisational romp through Shakespeare’s tragedy.

The players, members of a group called Improv-Etcetera, purportedly draw cards each evening to determine who gets to play which parts. We see them drawing, although we can’t actually see the cards; funny, isn’t it, how writer-director Kevin Carr wound up playing Hamlet on the night I was there?

At any rate, the group shoves Shakespeare’s basic story through the hoops of improvisational games. At this performance, for example, Gertrude sang about her plight in a country-Western song, one scene was played in the style of an action-adventure movie (“Gonzago, stop or you’ll eat lead”) and Claudius’ confessional prayer owned up to the time he pilfered a tie from Neiman-Marcus.

Claudius was played by a woman (a nifty butch turn by Christy Kanen), and men played the women’s roles. The players certainly seemed to know their improvisation and their Shakespeare. Not surprisingly, there were three or four bad jokes for every good one, but that’s not bad by improv standards, and it’s refreshing to see an improv group with such a well-thought-out specialty act.

Performances are at 1713 Cahuenga Blvd., Thursdays through Sundays at 8 p.m. Tickets: $8; (213) 871-0210.