Theater Reviews : Curses! ‘Op’ry House’ Melodrama Foiled by Eagerness

Tim Kelly is said to be America’s most-published playwright. He is also its most generic, his specialty being transferring public-domain classics into dramatic form. In “No Opera at the Op’ry House Tonight,” he tackles that venerable perennial, the old-fashioned mellerdrammer.

The Camino Real Playhouse decided to tackle it too, but under Tom Scott’s unstructured direction, it never quite gets back up on its feet again.

Scott’s mistake is a common one, forgetting that comedy is only funny when it’s done seriously, especially in this genre. There is a good deal of satirical humor in Kelly’s writing, but it is all but obscured by the reckless, juvenile comic abandon Scott has allowed on stage.

The plot is simple and typical. A dashing young French count (known in America as Billy Bright), who wants to write operas, and his sister (known in America as Betty Bright) are living in poverty in Old San Juan Capistrano. (The play has been localized for extra yuks.)

Suddenly there appears at the Camino Real Op’ry House the famous Salami Opera Company, guided by aging diva Madame Violetta, lead by her lovely prima donna ward Alma Pumpernickel. Voila ! What an opportunity.

But beware, Alma is being pursued by villain Wolfgang Von Wolfpack and his henchperson, Lily Liverspot, who have learned that before Alma’s father was lost in an avalanche of ice and snow, he had discovered gold mines that will make Alma rich. Greedy Wolfgang must marry her and rake in the fortune.

The usual mistaken identities, mismatches and mis-marriages take place, and the usual happy ending is brought about at the very last minute.

A cute idea. But not cute enough for this company.

A few cast members survive by virtue of fairly straightforward readings and sort-of-honest characterizations. Spencer McGurk is a stalwart hero--fortunately without a French accent--attractive and sincere, with just enough sensitivity to explain his devotion to music and, incidentally, to Alma. Michelle Ehlen is charming as Alma, also attractive and sincere. They both get their laughs without clowning.

*

Bob Snooks also comes out well as the opera’s basso profundo, Claude Hopper. Although his farmer’s garb is silly, his four or five studied comic expressions are effective and funny.

The rest of the cast is as silly as Claude’s bib overalls.

Patsy Ball’s Madame Violetta screeches annoyingly and at such a slow tempo that she looks as though she’s playing Medea on Quaaludes. Terrence D. Baxter and Bev Brezden-Toney as the villains, for some unaccountable and unnecessary reason, have become Boris and Natasha down to the accents, which obliterate many of their lines.

And oddly, though her brother doesn’t have an accent, Betty Bright (Joanne Bouck) does, which is supposed to be French but suggests that she spent a good part of her life in Berlin.

Played straight this “Op’ry” might work, but even then it isn’t helped by David A. Lewis’ original ballads that are listenable and entertaining but anachronistic and out of sync with the style.

* “No Opera at the Op’ry House Tonight,” Camino Real Playhouse, 31776 El Camino Real, San Juan Capistrano. Thursday-Saturday, 8 p.m., Sunday, 2 p.m. Ends Sunday. $10. (714) 489-8082. Running time: 1 hours, 50 minutes. Spencer McGurk: Billy Bright

Joanne Bouck: Betty Bright

Michelle Ehlen: Alma Pumpernickel

Bob Snooks: Claude Hopper

Patsy Ball: Madame Violetta

Bev Brezden-Toney: Lily Liverspot

Terrence D. Baxter: Wolfgang Von Wolfpack

A South Orange County Community Theatre production of Tim Kelly’s comedy. Directed by Tom Scott. Original music by David A. Lewis. Lighting design: Michelle Evans. Stage manager: Teddy Hurley.