CHILDREN’S THEATER REVIEW : Hidden ‘Treasure’ in Irvine : Flashy Theatrefaire Production Is Densely Colored--So Much That It Sometimes Threatens to Blur Robert Louis Stevenson’s Original Story

There was a moment at Saturday night’s performance of “Treasure Island” that might summarize what was right, and occasionally wrong, with this Theatrefaire for Children production, which continues through Sunday at the Irvine Barclay Theatre.

As splintered shafts of sunlight streamed through the trees, and tropical birds called, a gloriously grungy band of pirates plotted a murderous course to treasure. But as the discussion grew more heated, the outbursts of those scurvy dogs blended into a series of overlapping growls that at one point came out sounding like a collective, rumbling “arrrgh.” It was nifty, though probably unintentional, effect, but it left the rest of us poor landlubbers a tad confused.

Aye, that’s the rub. Directed by Blake Gould from a script adapted by Timothy Mason, the Theatrefaire’s “Treasure Island” is so densely colored that it sometimes threatens to blur Robert Louis Stevenson’s original story.

There is no faulting the visual and aural appeal of the show. Gould has drawn his inspirations from N.C. Wyeth’s original “Treasure Island” illustrations, and his design team has made a valiant effort to re-create those rich textures down to the stubble on the last pirate’s chin.

Swords clash, muskets blast, music swells. The problem is that as viewers, it’s easy to get so caught up in all this splash and flash that we may not notice how much of Stevenson’s text gets swept overboard--a situation contrary to one of Theatrefaire’s stated goals, to introduce young audiences to classic literature through theater.

Nonetheless, if you’re looking for a grand adventure for your young swashbucklers, especially those of the male persuasion (as Gould mentions in his program notes, Stevenson wrote the story in 1881 as a summer’s divertissement for his young stepson), “Treasure Island” is just the ticket.

Most boys should relate easily to Young Jim Hawkins who, armed with a mysterious map and a taste for adventure, departs the docks of Bristol a boy and returns on the brink of manhood.

Thirteen-year-old Tyler Morgan Condon stars as Hawkins. The only youth among the 20-member cast, Condon makes the transition from child to young man convincingly, from his initial cowering before Capt. Billy Bones (played with ample bluster by Dick Von Luhrte) to his naive admiration of Long John Silver (Leo Knudson) to his fateful confrontation high in the ship’s rigging with Israel Hands (Johnny D. Riley).

Knudson makes a charming rogue as Long John Silver, the one-legged con man who prays on Jim’s affections as he and his pirate crew attempt to wrest the treasure away. John Bowerman and Mario Lescot provide sturdy counterweights as the kindhearted Dr. Livesey and the foppish but dependable Squire Trelawney, who accompany Jim on his voyage.

Susan Patterson, the cast’s only woman, is Jim’s mother, the practical innkeeper who snatches the treasure map from Billy Bones’ sea chest when the cad keels over before paying his tab. Patterson does a respectable job in the role but like several members of the crew, would be better without the faltering accent.

Marcus Perrenoud is one of the show’s true delights as Benn Gunn, the marooned pirate who comes to Hawkins’ aid. Perrenoud gives us a half-crazed Gunn who after three years alone on this island is darned glad to see anyone, and more than willing to help Jim hoodwink Silver and his gang.

As he notes, he’s had plenty of time to regret his former ways and now is “back and piety.” Imagine Woody Woodpecker with a conscience, and you’ll have a clue.

Longtime Theatrefaire set designer Wally Huntoon has created a variety of settings that mostly hold their own on the Barclay’s large stage, most notably the Hispaniola herself. Stretching 30 feet wide with a mast that tops out at 20 feet above the stage, and outfitted by a specialist in 18th-Century square-rigged vessels, she’s a heady sight.

(Knudson, by the way, with his “absent” leg suspended in a hidden sling, does a yeoman’s job maneuvering the ship’s raked surface. But critical dialogue between Hawkins and Israel Hands as they tangled among the rigging was unintelligible).

Mary Ann Griego’s costumes are nubby and authentic-looking, although the persimmon-colored plumed hat that Long John doffs in his final moments does seem a little cartoonish. Audience members can appreciate the costumes at close range during a post-show autograph session in the lobby.

‘Treasure Island’

A Theatrefaire for Children production of Timothy Mason’s adaptation of the book by Robert Louis Stevenson. Directed by Blake Gould. Produced by Charlene Gould. Sets by Wally Huntoon. Costumes by Mary Ann Griego and Buzz Tryon. Lighting by Chris Medvitz. Sound by John Feinstein. Stage combat direction by Christopher Villa. With Dick Von Luhrte, Susan Patterson, Tyler Morgan Condon, John Bowerman, Josh Musselman, Michael Toombs, Reagan B. Wilks, Terry Christopher, Aaron Handry, Mario Lescot, Leo Knudson, Damon L. Carr, Johnny D. Riley, William Dunkelberger, Jon Wesley Watterson, Michael Palmere, William Mix, Marcus Perrenoud and Donie Collins. Continues Friday at 7:30 p.m., Saturday at 2 and 7:30 p.m. and Sunday at 2 p.m. at the Irvine Barclay Theatre, 4242 Campus Drive, Irvine. Tickets: $10 to $12. (714) 854-4646 or (714) 740-2000.