Where a gal can be a wolf

On a multilayered theater set resembling a fairy-tale pop-up book, assorted damsels in distress, each in a portable castle turret made of foam, beseech a swaggering Prince Charming to rescue them.

Basking in the attention, the prince leaps on a tree stump and preens in a bodybuilder’s pose, then pauses in mid-flex.

“My mother’s going to love this,” the prince says, eyes rolling.

The cast breaks out laughing, and so does director Nick DeGruccio, who is watching the Nine O’Clock Players children’s theater rehearse its 75th anniversary musical, “Happily Ever After, After All,” a spoof about what happens when fairy-tale villains write their own happily-ever-afters. It opens Saturday at the Walter Lantz Magic Auditorium in Hollywood.

When it does, adults and older kids in the audience may notice that things aren’t quite what they seem: These swooning damsels are women of a certain age -- up to 60 and beyond; the prince, Jodi Gilbert, is a middle-aged mom with two teenagers.

Gender-bending isn’t a novelty for the all-female Nine O’Clock Players. A company of mostly amateur volunteers, it is one of the oldest children’s theaters in the country, founded in 1929 by the Assistance League of Southern California, a nonprofit that provides educational, health and social services to children, families and seniors in need.

The company, which takes its name from its original curtain time -- 9 p.m. -- got its start putting on adult shows for high-society patrons as fundraisers for the Assistance League’s Day Nursery, the first licensed day-care program in the state.

“As wars came and went,” says Nine O’Clock Players Chairwoman Mary Ferrara, “there was a shortage of men, and women took over men’s roles. In the early ‘50s, we decided to refocus and become strictly a children’s theater.”

Today, the company mounts two productions a year for about 16,000 children at the Assistance League’s theater. Built in 1939, screened from casual view by a walled courtyard, the wood-beamed, barn-like venue was designed by L.A. architect Stiles O. Clements. It was renamed in 1996 when the Walter Lantz Foundation donated more than $500,000 for its renovation and upkeep.

Contributions and weekend ticket sales fund Nine O’Clock Players’ shows, with any overflow going to the league’s other charitable services. During the week, groups of kids, many with special needs, are brought in at reduced rates and for free.

But good intentions alone don’t make good theater, and the company is aware that its amateur efforts have lacked polish. That’s why it decided to “raise the bar” several years ago, Ferrara says, by hiring professional directors, writers and technical designers and by deepening its volunteer talent base.

“We’re committed to getting better at every level. Many of us have had some experience in school or acting earlier on, but we now have members with extensive professional resumes.”

“Happily Ever After” is the Nine O’Clock Players’ most ambitious production to date, with a $100,000 budget -- the company’s entire annual budget. The production will fill both slots of the season, returning for a second run in the spring.

The show’s professional framework includes Ovation Award winners DeGruccio and musical director Dean Mora, music by Nick DeGregorio and a script by multiple Emmy nominee Scott Guy.

This is DeGruccio’s fifth show with Nine O’Clock Players.

“They’ve come a long way in knowing where to put the money, how to structure their budget so they can do the best possible production,” he says. “Obviously the talents range, but everyone puts in 110%, and I adore working with them. When I wake up in the morning, I go, OK, where am I going today? Oh, yeah, I’m going to see the ladies -- it’s gonna be a fun day.”

With its Sondheim-esque music and content intended as much for adults as for children, “Happily Ever After” marks another milestone: Although the company has commissioned adaptations of children’s stories and traditional tales, this is its first original story.

“We felt this was the year to set the stage for our next 75 years,” Ferrara says.

“We wanted something that fit us,” adds company member Tricia Schaetzle, the show’s producer.

“One of the biggest stretches for most of us is when we play little boys and men,” she said.

Cast member Gilbert is an exception, Schaetzle says, laughing.

“She’s unique. We love her princely-ness.”

Gilbert, whose ability to play male roles credibly is seen by the company as a factor in its growth, enjoys her “leading man” status.

“No place else would I have the opportunity to play such juicy parts,” she says. “The Beast in ‘Beauty and the Beast,’ Geppetto, Aladdin -- it’s great stuff.”

Her parents, who are in their 80s, still need convincing.

“My mom wants me to be Cinderella. She just doesn’t get it. I said, ‘Mom, I’m 5 foot 10, I’ve got this deep voice. I’m not going to be Cinderella.’ ”

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“Happily Ever After, After All”

Where: Walter Lantz Magic Auditorium, Assistance League Playhouse, 1367 N. St. Andrews Place, Hollywood

When: 11 a.m. and 2 p.m. Sunday; 2 p.m. Nov. 27-28 and Dec. 4; 11 a.m. and 2 p.m. Dec. 5

Price: $10

Info: (323) 469-1970

Lynne Heffley can be reached at weekend@latimes.com.