Taking a lighter spin around ‘Carousel’

Exceptional singing ignites all-important passions that help overcome staging and venue limitations in Cabrillo Music Theatre’s revival of “Carousel,” at the Thousand Oaks Civic Arts Plaza.

Bucking recent trends emphasizing the grittier social dimensions in this darkest warhorse in the Rodgers & Hammerstein canon, director Lewis Wilkenfeld offers a sunnier, more traditional interpretation in which the character flaws that lead to tragedy are aberrations from an America sketched in wholesome community clam bakes, hormonally exploding boardinghouse girls and merchants who carry large sums of money alone at night.

This glowing Norman Rockwell sensibility forms the backdrop for the troubled romance between wife-beating carnival barker Billy Bigelow (Kevin Earley) and naive waif Julie Jordan (Kristi Holden) to unfold in all its melodic, sugarcoated codependency (“He only hit me once,” she chirps sweetly).

Blessed with a powerhouse singing voice, Earley sells a particularly sympathetic Billy, illuminating the character’s inner conflicts about commitment in “If I Loved You,” his duet with the likewise golden-throated Holden, and summing up his fateful dilemma between morality and a dawning sense of family responsibility in a “Soliloquy” that brings down the house.

Earley’s appeal to women is not so much that of a bad-boy rebel, but of a little boy lost, which plays well to the almost-maternal patience (rather than torrid passion), that keeps Holden’s long-suffering Julie in his corner.

High-caliber vocal abilities extend to the supporting characters as well. Jennifer Mathews as boardinghouse mistress Nettie belts out the show’s moral compass (“You’ll Never Walk Alone”). Gordon Goodman, as the smirking tempter who leads Billy to his doom, nicely contrasts with Justin Robertson’s comical soul of propriety, Mr. Snow. As Julie’s best friend, Carrie, Mindy Reid impresses despite the betrayal of a malfunctioning microphone.

Unfortunately, the production’s sound problems run deeper than a wayward mic. The cavernous Kavli Theater acoustics put a distracting echo on virtually all dialogue (only the highest-amplitude songs mask the reflections). Faring better in the sound mix is the more tonally balanced live orchestra under Ilana Eden’s direction. Peggy Hickey’s safe choreography seldom pushes the abilities of a community theater-level chorus -- the notable exception being the edgy ballet sequence showcasing the striking talents of Lisa Gillespie as Billy’s troubled daughter.

-- Philip Brandes

“Carousel,” Kavli Theatre, Thousand Oaks Civic Arts Plaza, 2100 Thousand Oaks Blvd., Thousand Oaks. Thursdays-Fridays, 8 p.m.; Saturdays, 2 and 8 p.m.; Sundays, 2 p.m. Ends Sunday. $17-$38. (805) 583-8700, (213) 480-3232, (714) 740-2000. Running time: 2 hours, 55 minutes.

*

A dark night for mother, daughter

The unsparing lucidity of Marsha Norman fuels “ ‘night, Mother,” launching the midweek series at Interact Theatre Company. This Pulitzer Prize winner about a suicidal daughter and her distracted mother receives a solid revival.

“ ‘Night Mother” has been a regional staple since its 1983 premiere at Harvard’s American Repertory Theatre, which starred Kathy Bates and Anne Pitoniak and subsequently moved to Broadway.

It unfolds in real time, in a pointedly generic American home (keenly designed by Curt Beech). Ten minutes in, Jessie Cates (Rebecca Tilney) casually informs her mother, Thelma (Annie Abbott), that tonight Jessie will kill herself.

The darkly comic, ultimately wrenching maneuvers this announcement generates are masterfully drawn, baring two souls in the process. “You are my child!” cries Thelma, but Jessie demurs: “I am what became of your child.” Norman moves them inexorably toward tragedy with Mozartean precision, avoiding authorial comment on either position.

Though the playwright’s stipulated clock is missing from the set, the resourceful execution nonetheless impresses, with Erick Keil’s lighting, Peter A. Lovello’s costumes and Julie Ferrin’s sound mirroring Beech’s verisimilitude.

Abbott and Tilney are estimable in their determination. Thelma is the showier role, and Abbott’s affable frenzy recalls the late Ruth Gordon. Tilney, though too attractive by half, counters with grim understatement, harrowing at the climax.

Debuting director Lisa Pelikan occasionally courts melodramatics in charting Norman’s transitions, telegraphing beats and blurring the nuances.

Yet the trenchant power of “ ‘night, Mother” bridges the gaps, and recommends this accomplished production.

-- David C. Nichols

“ ‘Night, Mother,” Interact Theatre Company, 5215 Bakman Ave., North Hollywood. Tuesdays-Wednesdays, 8 p.m. Ends April 30. $18. (818) 765-8732, Ext. 23. Running time: 90 minutes.

*

Braving a violent, psychotic morass

Philosophy and social theory underlie much of Anthony Burgess’ 1962 novel “A Clockwork Orange,” as well as Stanley Kubrick’s 1971 film adaptation. But to explore them, one must traverse twisting, slippery pathways of the mind -- and to get even that far, a person must choke back revulsion at the story’s extravagant use of violence.

The folks at Greenway Arts Alliance are bravely attempting the material once again, in a stage adaptation that Burgess wrote before his death in 1993. It restores a final chapter -- omitted from the American edition of the book and from Kubrick’s film -- that points the story toward a more hopeful conclusion. Musical passages, presented here in a cappella singsong, provide counterpoint.

Director Rick Sparks (the driving force behind Greenway’s award-winning 2001 production of “They Shoot Horses, Don’t They?”) and his artistic team retain a handful of references from the Kubrick film -- most noticeably the look of teenage antihero Alex and his hoodlum pals, who terrorize a big city in the near future while accessorized in bowler hats and codpieces. But Sparks and company head in new directions as they combine Hong Kong action movies, the English music hall and the circus into surreal eye candy.

The abstract designs of James Eric (set) and Jeremy Pivnick (lights) depict the metropolis of the future as a grim, hard-edged place where Alex (Seamus Dever) and his pals (Conrad Cimarra, Erik Liberman and Benjamin Sprunger) attack and rape at random. Staged in stylized slow-motion, these acts are nonetheless difficult to witness.

Dever is so riveting, though, that it’s hard to look away. Like Malcolm McDowell in the film, he rolls smirking cruelty and animal magnetism into one extremely dangerous -- and frighteningly attractive -- package.

A lot of good work has been invested in this staging, but Burgess’ story remains so murky that it’s bound, once again, to be misunderstood.

-- Daryl H. Miller

“Anthony Burgess’s A Clockwork Orange,” Greenway Court Theatre, 544 N. Fairfax Ave., L.A. Thursdays-Saturdays, 8 p.m. Ends May 10. $24. (323) 655-4402. Running time: 2 hours, 20 minutes.

*

This showstopper has voice, wit

Volcanic talent erupts throughout “SAM.” in its limited engagement at the Canon Theatre in Beverly Hills. This intimate solo effort from original “Star Search” grand champion Sam Harris is an overwhelming pyrotechnical display, against which the only option is unconditional surrender.

Whether his “Search” triumph occurred in 1984 or, per his impish bio, 1922, time has smiled on Harris. He appears essentially unchanged, and his unclassifiable, Jennifer Holliday-meets-Roy Orbison instrument is at its zenith.

Harris hits the ground running, slicing into the sly Arlen-Harburg-Mercer specialty “Satan’s Li’l Sam.” One showstopper after another follows, punctuated by sidesplitting topical wit and audience hysteria.

The deliciously self-aware Harris adds biting, up-to-the minute commentary to such numbers as Randy Newman’s “Political Science” and Sylvia Fine Kaye’s “The Torch Singer.” Harris’ acting chops likewise reverberate, from an uproarious eyewitness account of the Minnelli-Guest nuptials to a sodden Act 2 drinking medley.

Still, Harris’ raison d’etre remains that phenomenal voice, capable of moving from soulful whisper to clarion wail on a hairpin turn, with Cyndi Lauper’s “Time After Time” and Simon & Garfunkel’s “Bridge Over Troubled Water” emblematic of the dynamic extremes.

Stellar musical director Todd Schroeder is so attuned to Harris’ intensity that he endangers the piano bench, and Matt Berman’s sound and lighting are invaluable. Although a tad overlong and less a realized theater piece than an electrifying living room recital, “SAM.” will surely intoxicate Harris’ fans, while increasing their audible ranks.

-- D.C.N.

“SAM.,” Canon Theatre, 205 N. Canon Drive, Beverly Hills. Friday, April 11 and 18, 8 p.m.; Saturday, April 12, 19, 8 p.m.; Sunday, 7 p.m.

*

A fast-paced and droll comedy

“Honesty should not be an afterthought. It should be a last resort.” This representative zinger typifies “Private Eyes,” now at the Powerhouse Theatre in Santa Monica. Steven Dietz’ 1996 Pirandellian riff on theatrical adultery receives a well-appointed revival, whose skill overrides the textual indiscretions.

“Private Eyes” travels in zigzagging reverse, opening with a droll audition sendup. This climaxes with the first twist: Auditioner Matthew (Paul Wittenburg) and auditionee Lisa (Michelle Azar) are married actors, rehearsing under director Adrian (understudy Christopher Shea, in for Derek Webster), whom Matthew suspects of seducing Lisa.

Of course, it could be vice versa. And what of restaurant server Cory (Ranjani Brow), who is privy to a vendetta that Matthew cooks up. And why does psychiatrist Frank (Patrick Fischler) keep materializing when least convenient?

Dietz’s quip-laden construct is facile, and this Neurotic Young Urbanites production responds in kind. The winking designs, full of bells and whistles, are courtesy of Ilana Radin (sets), J. Kent Inasy (lighting), Robbin E. Broad (sound) and Paco (costumes).

One benefit is the rocketing pace maintained by director John Langs and his adept players. Wittenburg’s imploding energy is ideal, and both the frazzled Azar and deadpan Brow are wonderful. Shea hilariously skewers aesthetic pretensions, while Fischler recalls the young Eugene Levy.

Such abandon counters the relative paucity of substance beneath Dietz’s dexterity, which is engrossing but chiefly about itself.

Character and tone pale beside the explicated subtext and exposed stylistics. This hardly prohibits enjoyment, though, especially in a town full of common-law thespian colleagues.

--D.C.N.

“Private Eyes,” Powerhouse Theatre, 3116 2nd St., Santa Monica. Thursdays -Saturdays, 8 p.m. Ends April 26. $20 (310) 572-6748. Running time: 1 hour, 45 minutes.