Stages’ ‘Coal’ Is Sharp as a Diamond

Puccini undoubtedly would have flipped over Mitchel Faris’ “Coal.” The great Italian composer loved melodramas and turned two by David Belasco--”The Girl of the Golden West” and “Madame Butterfly”--into popular operas.

“Coal” is every bit as much of a period melodrama as “Girl” and just as operatic.

“Coal,” being revived at Stages in Fullerton, is a different animal than when it was first done four years ago at Stages’ old venue in Anaheim.

Now it flows easily and smoothly through the taut build of its action in the best style of its genre, with enough surprises and twists to keep viewers on the edge of their seats.

Under Tracy Perdue’s visually interesting and emotionally involving direction, even moments that could be maudlin are treated with enough inventiveness to keep them fresh.

The setting is a typical 19th century coal mine in northern Pennsylvania, not long after the Civil War. Bright and ambitious Matthew, one of the more energetic miners, is confident he will be made supervisor soon, but his hopes are dashed with the arrival of gun-toting Jake, as dark and glowering a villain as ever lurked about a stage. Jake’s secret background is known only to the mine’s pastor, Fashgna, who lived through Jake’s evil days with him, and has a protective attitude.

Complications arise when Matthew’s pretty young wife, Urseline, who dreams of taking her husband to California and finding a better life, seeks advice from Catherine, the fiancee of the company-store proprietor, James. Naturally Catherine is secretly in love with Matthew and gives Urseline only advice that will further her own lust.

The tragedy that ensues from both these plot lines is indeed operatic, and the gradual growth and deepening of each characters’ essence is artfully accomplished. The result is a totally rewarding evening of theater.

The cast is exceptional, particularly in its sure feel for the accents of the poor Irish immigrants who people the Bigelow Mine. Their overall sense of sincerity and realism is gripping and, considering the melodramatic script, is remarkably restrained except when emotion demands a larger performance.

As Jake, who is not so much wicked as he is a man who has an appointment with destiny, Gavin Carlton gives a performance deeply plied with rich detail, presented with subtlety and often with power.

*

Mike Brainard’s Matthew, twisted and torn by the threat of Jake’s increasing power in his life, and by the poison of Catherine’s lies to Urseline, balances his anger with a quick charm that proves why his wife wants to get him away from the mine, and why Catherine adores him.

Brianne Gates is Matthew’s dreaming young wife and gives her an innocence and naivete that is all the more touching in contrast with her explosion of vengeance later on. As the nasty Catherine, who learns the result of her deeds too late, Olivia Henley provides enough of a glimmer of goodness beneath the conniving to salvage her engagement before the end.

Todd Langwell presents a solid portrait of the preacher Fashgna as a man who has been through hell to be reborn with a golden outlook on life that escapes him only when tragedy looms. Bryan Madigan also is very strong in the difficult role of the company-store manager, showing moments of insight into the man’s simple approach to difficult things in life.

* “Coal,” Stages, 400 E. Commonwealth Ave., Fullerton. Fridays-Saturdays, 8 p.m.; Sundays, 6 p.m. Ends Oct. 17. $12. (714) 525-4484. Running time: 1 hours, 45 minutes.

Brianne Gates: Urseline

Mike Brainard: Matthew

Olivia Henley: Catherine

Bryan Madigan: James

Gavin Carlton: Jake

Todd Langwell: Fashgna

A Stages Entertainment Group production of Mitchel Faris’ drama. Produced by Brian Kojac. Directed by Tracy Perdue. Scenic/sound design: Mitchel Faris. Lighting design: Kirk Huff.