Variety
Feb. 25, 1976
The Most Happy Fella
(Long Beach Civic Light Opera; $7.50 top)
-author unknown
General competence of Long Beach Civic Light Opera is remarkable, but
current production of Frank Loesser's "The Most Happy Fella" is brilliant.
Although it's community theatre with professional topliners, this show,
which was probably brought in for something like $50,000, can compete
head-on with ones capitalized at $500,000 or more.
Gary Davis' smashing direction, Dom Salinaro's topnotch choreography
and Janet Ritschel's superb choral work combine to make this one of the
finest musical productions seen anywhere in the area for several years.
Purchased professional sets put recent L.A. Civic Light Opera cardboard
scenery to shame.
Michael Quinn as the Fresno grape grower displays a fantastically strong
voice and equally fine acting ability. Victoria Mallory is show's
weakest link; her portrayal of the waitress from San Francisco who accepts
Quinn's postal marriage proposal meanders except in her dancing, which
is more than acceptable.
Kelly Britt's raucous voice and hard-hitting comedy delivery make
companion waitress Cleo a pure delight. Wayne Bryan, as the blissful
cowpoke who never met anybody he didn't like, stops the show on several
counts, "Standing On The Corner" and "I Made A Fist".
Lowell Harris is good as winery foreman Joe, who meets and mates with
Mallory when she comes to the ranch on Quinn's ruse of sending Joe's
picture. Harris needs a bit more volume, but his pitch and
performing are quite good.
In the thankless role of Marie, Quinn's stern sister, Pauline Foley is
outstanding. Gary Gordon has several good moments as the Postman. And
the "Abbondanza" trio - Stan Throneberry, Michael Ross and Vince
Trani - are a fountain of energy and fine voices.
The ensemble, consisting of some 50 bodies, is well-knit, highly
disciplined, and moved about the large Jordan High School Auditorium
stage perfectly to paint the vineyard tableaux.
Enough cannot be said for the choral work. Ritschel has extracted soaring
beauty from a mixture of trained and untrained voices. The cantata
work in "Song Of A Summer Night" is indescribably beautiful.
Loesser's script, music and lyrics have got to be some of the finest in
American musical theatre. Director Davis has added his own little
touches that enhance the show even further.
In addition to the colorful sets and excellent performances, this
production is made even more pleasant by Jim LaRue's selection of
colorful costumes. Kim Killingsworth's lighting is also top-drawer.
Pit orch, under able direction of David Hubler, leaves something
to be desired.
Show is in for only two more weekends, but if some entrepreneur were
wise, he'd pick up the package, make a few minor adjustments, and
bring it to town for an open-end run that's bound to play for many months.
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