Stage Reviews : A Little Flair, but ‘Scandals’ Needs a Cinch

Updating Moliere to 1890 Paris, the beginning of belle epoque , is a provocative idea. Turning a slight Moliere farce into a cabaret musical that Toulouse-Lautrec could paint is also a piquant idea. But all the cancans, feather boas, vocal quartets and bright scarfs in Paris can’t salvage “Scapin’s Scandals” at the Alhecama Theatre.

The production by the Ensemble Theatre Company does enjoy an ensemble flair and flashes of skill. But director Robert G. Weiss’ show is bloated. As ringmaster, Weiss doesn’t crack enough whips.

The result plays like a series of lounge acts for the Gay ‘90s. The show lurches. Musical numbers need to be drastically pruned (a few should be cut) and dramatic scenes sharpened. The 2 1/2-hour running time is unforgivable.

You can fault the execution, but Weiss’ concept is full of potential. Moliere’s “Les Fourberies de Scapin” (1671) was a light entertainment inspired by his observation of the commedia dell’ arte style of the great Italian actor Scaramouche. In his frothy “Scapin,” Moliere parodied the self-contained world of Scaramouche, who was sharing the Comedie Francaise with Moliere at the time.

Weiss has imaginatively set his brash update (translated by Dominique Sonier) in a St. Michel neighborhood theater, where operetta prevails, on stage and off. Temperamental actors, two of whom are about to be disinherited for choosing unsuitable brides, are even assailed from the wings by bomb-throwing revolutionaries.

That’s good stuff, except the 20-member cast is caught up in too many star turns and too much raggedy pacing. Are those veiled, exotic dance numbers (which endure forever) for real or sly parodies? No way of telling.

Those joker spades and clubs on the jacket of the double-dealing magician Scapin make actor Tony Miratti look ridiculous. In any event, Miratti scores strongly with his one big opportunity (Moliere’s blistering criticism of the legal system). But comedic shtick needs to be blended into the text. Ultimately, he’s another reminder of a stand-up music hall act. Farce needs a base of reality.

The original music sounds true to the period but many of the otherwise intricate lyrics are muddied by the vocal quartets.

The life of the show is visual. The stage is splashed with yellow, blue and mauve, from Tinika Ossman’s ripe fantasy gowns (the women dominate this show) to Amy Gilley and Weiss’ playful set design of painted backdrops and scrims.

The show is strongly enlivened by Gretchen Evans’ antics, and flavorful portrayals are drawn by Anne Quackenbush, Karyl Lynn Burns, Leslie Gangl and Otto Layman.

The theater has now produced three Moliere plays adapted by Weiss, who is the company’s artistic director. It’s time to move on to something else.

At 914 Santa Barbara St., Thursdays through Saturdays at 8 p.m., Sundays at 2 p.m., through March 17. Tickets: $9-$12.50. (805) 962-8606.