STAGE REVIEW : ‘Gospel’ Needs a Little Hellfire

A new gospel show, “Sing Out Sweet Gospel ‘88-’89,” is brashly subtitled “A Pre-Broadway Gospel Review.” Taken together, that’s an awful lot of optimism for a production that has a way to go.

Gospel can be a huge audience draw. Witness the turnouts for “Mama, I Want to Sing” and “The Gospel Truth” at the Beverly. But the house for Sunday’s matinee at the 1,200-seat Balboa Theater was under 60. To their credit, the 19-member cast and the happy, clapping patrons didn’t seem to notice.

The Balboa Theater? No, this isn’t San Diego. The facade stands like a visage of past glory in South-Central Los Angeles. Now moderately spruced up after years of darkness, the theater opened as a vaudeville house in 1926. The new proprietor, Emmett E. Cash III, who produced, wrote and directed “Sing Out Sweet Gospel,” wants to return showtime to the Balboa.

The theater’s musty air is palpable, but the acoustics, in both balcony and orchestra, are fine. Cash did the lattice-work set and also directs the rudimentary lighting (performers’ shadows are cast all over the stage).

He has found attractive performers (most notably the sparkling, tall and slender Valerie Washington). And several deliver vocal power. Unfortunately, the musical book is a wafer of a story. Clouds are more interesting.

We are in purgatory, presided over by the show’s co-star, Billy Dorsey. Dorsey enjoys presence and the arresting voice of a deacon, but he is given too many vocals, many of which begin to sound alike. The show’s most affecting singers (co-star Vermettya Royster and the vastly under-used Denise Armour) merit more spotlight than they get.

The ample Royster, in booming thrusts and bursts, highlights the live music (backstage drums, piano and bass guitar with selected songs co-written by Dorsey, Cash, and performer Carl Raney).

Gospel notwithstanding, the production is top-heavy with religiosity. It cries out for more secular fireworks, musically and dramatically (if that’s possible in purgatory). Not until late in the second act does a sassy, stomping production number, led by the redoubtable Royster, spring the audience to its feet. It’s too long to wait.

The white-robed choric group and some graceful, black-clad dancers are competently choreographed by Karen McDonald.

The production appears to lack the commercial killer instinct needed to make it uptown. Anyway the Balboa is back.

Performances are at 8713 S. Vermont Ave., Wednesday through Saturday, 8 p.m., Saturday and Sunday, 3 p.m. Tickets: $12.50-$22.50. (213) 778-8834.