STAGE REVIEW : Delightful ‘Seven Brides for Seven Brothers’ : Fullerton Light Opera Cast Kicks Up Exuberant Performance With Hearty Songs, Lively Dancing

The future of the Broadway musical may be in question on the Great White Way, but its past is alive and well in Fullerton Civic Light Opera Company’s production of “Seven Brides for Seven Brothers.”

This comic American frontier fable was first popularized in the 1954 MGM movie and subsequently was adapted for the stage. Although a couple of songs were lost in the transition, much is gained in Fullerton’s exuberant production, which kicks up its heels with the best of them.

To the luxurious accompaniment of a full orchestra, conducted very ably by Benton Minor, the cast heartily sings and dances its way through the tale of the seven Pontipee brothers--mountain men of Oregon, who are wild, woolly and desperately in need of female companionship.

The eldest son, Adam, goes right out and gets himself a smart and sassy little wife named Milly, only to discover that her idea of marriage goes way beyond working like a slave for a tribe of unkempt hooligans. Milly sets out to civilize the Pontipee boys and get them happily married off so she can have a real home at last, and one man to be hers alone.

Along the way, the audience is treated to some irresistibly lively dancing and more than a few laughs as Milly guides Adam and his brothers through the wilderness of etiquette and courtship to the peaceful valley of requited love.

The production as a whole is cartoon-like in the tradition of American musicals, in which pioneer women always wear their hair in ringlets and bows. Sha Newman’s direction is an unabashed filtration of the original Broadway version, which was lifted almost verbatim from the movie.

Rita Baretta is a lovely Milly, whose sinuous voice eases through the Gene dePaul/Johnny Mercer score (additional songs by Al Kasha and Joel Hirschhorn). She hardly uses her floating upper register at all, but it’s a delight in the few brief moments it’s showcased. As Adam Pontipee, Ron Samson sings solidly and makes good use of a ferocious grin.

The six younger Pontipees provide the core of the fun and the lion’s share of the athletic dancing, and each one is a delight. Sam Zeller brings extra explosiveness to brother Caleb, and Barry Ramsey, who plays Frank, deserves recognition for his double duty as assistant choreographer. Of the pert and graceful brides, Alli Spotts, Shahara Ray and Karen Nowicki deserve to be singled out. Angelo Collado’s elastic dancing made him a standout among the townsfolk.

The set consists of innocently theatrical painted drops and a few sturdy furniture pieces. The wall of the rugged Pontipee farmhouse undulates most unruggedly whenever the front door is slammed (and it’s slammed frequently), but if the set is shaky, the dancing is rock solid. The only thing missing was an invitation to get up there and join the party.

‘Seven Brides for Seven Brothers’

A Fullerton Civic Light Opera Company production of the musical. Book by Lawrence Kasha and David Landay. Music by Gene dePaul, lyrics by Johnny Mercer. New songs by Al Kasha and Joel Hirschhorn. Director and choreographer: Sha Newman. With Ron Samson, Rita Baretta, Mark Slama, Sam Zeller, Dave Larson, Eric Gunhus, Barry Ramsey, John Williford, Alli Spotts, Shahara Ray, Sharon Palmer, Kimberly Arnett, Peggy C. Pagenkopf, Karen Nowicki, Erik Garcia, Hugh Haiker, Jim Peace, Joe Heshion, Angelo Collado, Greg Ricks, Dan Stroud, Randy Long, Bonnie Moran, Nick Menecola, Melinda Subia, Melissa Montano and Damon Rago. Musical director and conductor: Benton Minor. Lighting design by Donna Ruzika. Costumes originally designed by Bonnie Roncayolo. Set originally designed by Mark Klopfenstein. Playing at Plummer Auditorium, 201 E. Chapman Ave., Fullerton. Performances through March 8; Thursdays through Saturdays at 8 p.m., Sunday at 2 and 7 p.m., and on March 8 at 2 p.m. only. Tickets: $12 to $24. (714) 879-1732.