With the help of the GPAC players under Roberta MacDonald’s knowledgeable direction, The Drunkardisn’t mellow as a drama. It’s a laugh riot spoofing plot, characters, music, lyrics and stage devices.
A cartoonish curtain rises and footlights shine on the storied Widow Wilson and pretty daughter Mary, pitifully poor. On their rockers, they roll out their hopes that “Something Good Will Happen Soon.” But Lawyer Cribbs awaits in the wings to seize their home and Mary.
When Cribbs can’t get good guy homeowner Edward to foreclose or sell him the home, and when Edward meets Mary and gets her to wed him, Cribbs sets out for vengeance. He will make Edward a drunkard, with all the deprivations that come with it. And so the not-so-mellow drama plays out!
Much of the flavor is in the garnishes. A stage manager off to one side of the action does sound effects, directs the audience to boo the villain or cheer his defeats, and walks into the play for such bit parts as bartender. (Tim Beltley designed the colorful costumes, as well as acting and “managing” on the side stage.)
Sarah Cassidy’s soprano, especially on “What Makes Me Love You,” in fact, makes her voiced loved. Could that talent have been inherited from her expressive stage-mom Mrs. Wilson (Helen Holliday, at her most animated of four roles)? Also lovable is Craig Weiskerger’s voice and personal appeal as Edward.
Ryan Fitts aquits himself admirably as always-to-the-rescue (well, almost always) William. Brittney Klepper slides easily from town crazy Agnes to a saloon gal but has to stretch to be Mary and Edward’s daughter, spending most of her time trying to sleep on cold cabin floor. Deirdre Mercier fits well another three varied bit parts, including a soldier.
Jenny Walker is a stitch as Carrie Nation in funereal black. The latter also fits the villainous tempter lawyer essayed by Don Walker. If he doesn’t walk away with house and heroine, he does with the show . . . right through a heavenly conversion into white.
Musical director Alan Jay Corey furthers his considerable local reputation as almost-onstage pianist. (He’s usually behind a tree.) The sounds come through for songs done vaudeville-like before the curtain during scene changes. Audiences get a chance to sing along with “Give My Regards to Broadway.”
Barry Manilow’s musical and Bro Herrod’s contributions to the oldie text certainly make it golden for broad-comedy-loving audiences today.
