George Bufford and Lareen Faye (Photo by Jackie Shearn)
Reviewed by Martín Hernández
The Lonny Chapman Theatre
Through November 10
RECOMMENDED
For attendees of The Orphans’ Revenge (Or Abandoned at Cooper’s Crossing), throwing rotten tomatoes or wilted lettuce is prohibited. On the other hand, a loud boo or a louder cheer is not.
A tongue-in-cheek musical melodrama replete with a vile villain, a temptress or two, and a hearty hero and heroine, the show features a book by Suzanne Buhrer and Gene Casey, and music by Buhrer, Casey, and Jan Casey. It’s also directed with comic flair by Stan Mazin. The result is a silly and fun-filled event with a cast that shamelessly embraces the frivolity of this family friendly fare.
While begging in the snowy streets of 1900’s Cooper’s Crossing, a pack of bedraggled orphans (Jackson Bethel, Hannah Sun, Arden Shia, and Scarlett Strauss) sing “Look for the Sunshine,” a tune celebrating hope despite their dismal condition. The four live in a ramshackle orphanage under the care of the loving and penniless Alice (a suitably sweet Jessica Kent), left parentless herself 19 years prior. Aided by the kind but senile caretaker Uncle Ned (Brad Kahn), Alice and her brood scrape by, making ends meet and paying off the mortgage.
Alas, treachery is afoot. The ruthless saloon and gambling baron Victor Van Rooper (a scenery chewing Joseph Eastburn) and his saucy partner Rose (Janet Wood) have snapped up the orphanage’s loan to expand their enterprise and openly revel in their scheming (the clever “Nice to Be Nasty.”) What is poor Alice to do? While she braves a blizzard trying to collect enough to buy the mortgage from Victor (“Poor Me – Oh My”), Alice meets the dim but upright Jack (Sean Babcock), whose generous heart is won over by Alice’s plight. They also, of course, fall in love (“Nothing As Sweet As A Sweetheart.”)
Jack offers to buy the mortgage from Victor, but can he resist the wiles of the sultry Carlotta (Kristin Towers Rowles hilariously channeling a cobra), the saloon’s shifty chanteuse and Victor’s paramour, who tempts the lad with beer – and her body – to foil his good deed?
As the campy narrator Hisato Masuyama’s flamboyant gestures and florid dialogue keeps us abreast of the shenanigans, while Rose’s sultry Saloon Girls (Casey Murray and Melissa Strauss) provide “commercials” for turn-of-the-century products that would shock today’s consumers. The chemistry and comic timing from Kent and Babcock help to offset their inconsistent vocals, which are often overwhelmed by music director Andy Howe’s splendid keyboards.
Laureen Faye’s Alma, the drum beating temperance organizer and spouse of the soused Reverand Cox (George Bufford), is well voiced, belting out a rousing rebuke of the demon alcohol (“Repent! Repent!”) while Carlotta, Rose, and the Saloon Girls offer a humorous take on scarlet women such as themselves with “Painted, Tainted Doll.” Victor, Rose, Carlotta, and the Saloon Girls also steal the show with “Good Times,” a rambunctious ode advising us to “don’t put off the good times you can have today.” Rod Schaumann’s pivotal role of the Snowman is also a hoot. Designer Mareli Mitchel-Shield’s cartoon-like set — three rotating platforms representing the main settings — and Shon Le Blanc’s period costumes add to the proceedings’ playful spirit
The Lonny Chapman Theatre, 10900 Burbank Blvd., N. Hollywood; Fri.-Sat., 8 pm; Sun., 2 pm; thru Nov. 10. https://thegrouprep.com (Some roles are double cast.) Running time: two hours with an intermission.
