STAGE REVIEW : A Most Happy ‘Fella’

Can two pianos be better than a full orchestra? That is the question. The answer: Yes. Apparently.

It was composer Frank Loesser himself who encouraged the idea of a two-piano score for his “The Most Happy Fella,” helping Robert Page to create the one that greets us at the Doolittle Theatre where a revival of this 1956 musical opened Wednesday. Too bad Loesser, who died in the ‘60s, couldn’t see it.

Extrapolated from Sidney Howard’s 1924 play, “They Knew What They Wanted,” “Fella” was never admired for its sentimental book about an Italian grape-grower in the Napa Valley and his much younger mail-order bride so much as for the many happy surprises in its 36-song, quasi-operatic score. All aspirations of grandeur, if that is what they were, backfired.

Judging from this production (which comes to us from Connecticut’s worthy Goodspeed Opera House) and, judging from some program notes by Jo Sullivan, Loesser’s widow and the play’s first Rosabella, Loesser had a hunch small would be beautiful.

Who else should know? Simplicity is this edition’s hallmark--in the suggestive but understated sets with panoramic backdrops by John Lee Beatty, the deftly handled humor of Gerald Gutierrez’s staging, Liza Gennaro’s uncomplicated (but not simplistic) choreography, and the unobtrusiveness of Jess Goldstein’s costumes and Craig Miller’s lights.

Making “Fella” an intimate musical gives it clarity and appeal. It enhances both the story and the score. The book, with its fallen woman aspects and countryside pastorales , will never be great, but it manages a fluid charm. (An indication of sexual harrassment in the opening scene brought down the house.) And Gutierrez undercuts the lather two ways: by keeping emotion in check and dousing it with humor. The result is a tender, dignified and seductive “Fella.”

This could not have been achieved without a strong, responsive company. The booming Spiro Malas and sweet Mary Gordon Murray as Tony and Rosabella bring enough subtlety and compassion to their roles to make us believe their anguish and their eventual closeness. Note especially the delicacy of their “Happy to Make Your Acquaintance” and “Like a Woman Loves a Man.”

Liz Larsen’s jaunty best friend Cleo milks “Ooh, My Feet” for all it’s worth and, with Scott Waara’s goofy Herman, gives us some of the evening’s brightest moments.

There are the remembered standards (“Standing on the Corner”) and the less-remembered joys (“Big D,” “I Like Everybody”), but this is a democratic undertaking: Everyone has an instant in the sun, including Charles Pistone’s nicely reserved Joey, the bellicose Doctor (Tad Ingram), Tony’s nagging sister (Claudia Catania) and those Italian kitchen stooges Giuseppe (Bill Nabel), Pasquale (Mark Lotito) and Ciccio (Buddy Crutchfield). The latter’s playful bantering with the audience is an inspired substitute for the second intermission.

Throughout, we see Gutierrez’s fine hand. His staging of the vibrant “Abbondanza” (watch food and gifts fly in from all sides), his insistence on emotional restraint and his slackening of the reins for the delicious Cleo/Herman spoofing add up to a memorable show.

Lest we forget, Tim Stella and David Evans are the fellas at the twin keyboards who give this “Fella” full value. And for once, everyone in the company seems able to pronounce the Italian.

Correctly.

For this and other favors, large and small, bestowed by this surprise production, molto grazie .

“The Most Happy Fella,” UCLA James A. Doolittle Theatre, 1615 N. Vine St., Hollywood. Tuesdays-Saturdays, 8 p.m.; Saturdays-Sundays, 2 p.m. Also Sunday, Oct. 27, Nov. 3, 10, Dec. 1, 7 p.m.; Nov. 25, Dec. 23, 8 p.m.; Nov. 14, 21, Dec. 5, 12, 19, 26, 2 p.m. Ends Dec. 29. $33-$42. (213) 972-7337, (213) 972-7000. Running time: 2 hours, 30 minutes.

‘The Most Happy Fella’

Tad Ingram: Cashier/Postman/Doctor

Liz Larsen: Cleo

Mary Gordon: Murray Rosabella

Spiro Malas: Tony

Scott Waara: Herman

Bob Freschi: Clem

John Soroka: Jake

Ed Romanoff: Al

Claudia Catania: Marie

Bill Badolato: Max/Priest

Charles Pistone: Joe

Mark Lotito: Pasquale

Buddy Crutchfield: Ciccio

Bill Nabel: Giuseppe

A Center Theatre Group-Ahmanson presentation of the Goodspeed Opera House production. Original producer Michael P. Price. Director Gerald Gutierrez. Book, music and lyrics Frank Loesser, based on Sidney Howard’s “They Knew What They Wanted.” Sets John Lee Beatty. Lights Craig Miller. Costumes Jess Goldstein. Sound Jon Gottlieb. Duo-piano arrangement Robert Page under the supervision of Frank Loesser. Musical director-conductor-pianist Tim Stella. Assistant conductor-pianist David Evans. Choreographer Liza Gennaro. Production stage manager Michael Brunner. Stage manager Michael McEowen. Artistic associate Jo Sullivan. Associate producer Sue Frost.