STAGE REVIEWS : Two French Classics Given West Coast Premieres

French classics do not normally come in pairs, but this summer in California they seem to.

The PCPA Theaterfest of Santa Maria and Solvang is presenting Charles Morey’s stage adaptation of Alexandre Dumas’ “The Three Musketeers,” while the Theatricum Botanicum of Topanga Canyon is offering Ellen Geer’s stage adaptation of Victor Hugo’s “The Hunchback of Notre Dame.”

The analogies go on. Morey and Geer each directed these productions of their own adaptations and both shows, which share a 15th-Century setting, are West Coast premieres. (In Geer’s case, it’s also a world premiere.)

Dumas and Hugo were both born in 1802 and became professional friends later in life. Not too surprisingly then, they also shared a similar sense of bravado--the kind of action-packed heroic sentimentality and suspense that was part of the age, but that also lent itself to terrific yarns. Each man could spin a flamboyant tale-and-a-half and leave you wanting more. One would suggest making the movie, if the movie hadn’t already been made--in the case of “The Three Musketeers,” three times!

Plenty of dash and derring-do can be found in Morey’s exuberant staging of his “Musketeers,” with additional spice thrown in that eluded the films: the mixing of the author’s reality with that of the characters, and the ingenious multipurpose use of a turntable that serves to telescope scenes and carry our musketeers along on their honor-saving missions on the backs of carousel horses.

It’s a delicious touch. If the turntable turned a little faster, and if the 28 fight scenes had a tad more swash and less buckle, this would be an even more seductive show than it already is. Dumas on stage (nicely played by Jonathan Gillard Daly), pressed for cash and forced to invent these serialized “chapters” of his story, interacts at will with his creations. This includes on-the-spot rewrites as the author kills off and resurrects his protagonists, realizing that he has many chapters still to go. A few too many perhaps. The show could lose 20 minutes’ worth of running time and be the better for it.

Nor had the performance seen quite achieved its requisite pacing yet, though Morey, who created this tongue-in-cheek frolic for his own Pioneer Theatre in Salt Lake City (where it premiered in 1989) should best know how to guide it.

However, this PCPA edition has lively humor, an engaging trio of musketeers (Stephen Paul Johnson, Jack Greenman and Frederic Barbour as Athos, Porthos and Aramis, respectively), a boyishly indefatigable d’Artagnan in the appealing Kenneth R. Merckx Jr. and Gene Branamam as a wonderfully slothful servant Planchet.

Also notable are Michael Tremblay’s vain Louis XIII and James Edmondson’s conniving Richelieu.

Gabriel Espinosa has stylishly outfitted everyone in a handsome array of garments--and undergarments--topping them off in nautical headdresses and other delightful nonsense for the royal ball.

“The Hunchback of Notre Dame” at Theatricum Botanicum fares less well at the hands of its adapter-director. Even though it manages to incorporate a fair amount of social context and flavor, Geer’s lengthy and indulgent stage version eventually bogs down in the second half.

The sylvan casualness of the Botanicum (dubbed Summer Camp theater by one wag, though that is ineluctably part of its charm) works against a story that relies on a tight counterpoint of sinister religiosity and overwrought sentiment. It’s almost self-spoofing.

Geer and her eager company possess all the good will in the world, if not all of the talent, which thanks to the laid-back summer madness makes for a paradox: enjoyable mixed results. James LeFevbre’s Quasimodo is a sweet and loving monster and Mark Bramhall a fretful puritan as the libidinous priest Claude Frollo, while Georgia Simon’s earthbound Esmeralda hardly seems worth the lengths both men go to on behalf of this by-the-numbers Gypsy girl.

Their production wouldn’t begin to pass muster in an indoor theater in winter, but at the Botanicum a lulling magic sets in. Enthusiasm makes up for what is lacking in detail, coordination or even well worked out physical business.

Ropes and a plywood Notre Dame have to do at this “poor” theater, and one more or less willingly suspends disbelief when the hangman’s scaffold from which Quasimodo rescues his Esmeralda is only a few steps from the spot where this antique rope-swinging Tarzan and his Jane make a landing at the cathedral.

No matter. It’s summer. Which is the only way to look at this picnic-friendly version of “The Hunchback.” One performance stands out: that of Ernestine Phillips as the half-crazed recluse “living in a rat hole.” It’s heavy on grand emotions, but Phillips carries them off with a force that betrays the ability to tackle much more.

Even within the limitations of budget, machinery and talent, Geer could (and should) tighten her staging. But this free-wheeling, Renaissance Fair-ish family operation has always been bigger on spirit than attention to dramaturgy. It’s not likely to change. So lower those expectations, pack a good picnic, a pillow and remember: It’s summer. No matter. Yo.

“The Three Musketeers,” PCPA Theaterfest, Festival Theatre, 420 Second St. in Solvang and Marian Theatre, 800 S. College Drive, in Santa Maria. Santa Maria: Aug. 15, 24, 30 at 8:30 p.m.; Aug. 14, 25, 31, Sept. 10 at 2 p.m. Solvang: today, then Aug. 12, 28, 29, Sept. 2, 14, 20, 8:30 p.m. Ends Sept. 20. $10-$17; (800) 221-9469, (805) 922-8313. Running time: 3 hours.

“The Hunchback of Notre Dame,” Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. Saturdays, 8 p.m.; Sun., 1:30 p.m. Ends Sept. 1. $4-$11 (age 5 and under, free); (213) 455-3723. Running time: 2 hours, 40 minutes.