The Robber Bridegroom

Exuberant spirits and sublime slapstick are the hallmarks of director-choreographer Todd Nielsen's rousing resurrection of this rarely produced 1975 musical. The bouncy score (music by Robert Waldman, lyrics by Alfred Uhry) felicitously combines bluegrass and Broadway bombast. Uhry's book melds whimsy, metaphor, slapstick, and satire in a show that's based on a Eudora Welty novella derived from a Brothers Grimm fairy tale. This fanciful tuner feels like a theatrical descendant of "The Fantasticks," spiced with a touch of commedia dell'arte. Thieves, schemers, dreamers, and star-crossed lovers come to vibrant life in the hands of Nielsen's gifted cast.

In rural Mississippi in 1795, we meet Jamie Lockhart (Chad Doreck), a gentleman and a scoundrel, as lovable as he is larcenous. He saves the life of wealthy plantation owner Clemment Musgrove (Michael Stone Forrest), who was targeted for theft by idiotic thug Little Harp (Michael Uribes) and his sibling Big Harp (Tyler Ledon), a decapitated head protruding from a trunk. Jamie capitalizes on Clemment's gratitude in a ploy to court the codger's lovely daughter, Rosamund (Jamison Lingle), and gain access to the family riches. Meanwhile, Rosamund's scheming stepmother, the slovenly Salome (Sue Goodman), plots to have the lass murdered. Mistaken identities reminiscent of a Shakespearean romp abound, as the joint keeps jumping to the jaunty beat of pianist–music director Gerald Sternbach and his crackerjack onstage band.

Doreck makes an irresistible antihero, carrying out Jamie's machinations with humor and rascally charm, which makes his transgressions easily forgivable by the happy ending. Lingle plays Rosamund with dexterity and panache. Her lovely ballad "Sleepy Man" is a highlight. Goodman's evil harridan is hilarious, and she boasts a classic musical-comedy belt. Forrest is a hoot as the despicable Musgrove. As the Harp brothers, Uribes and Ledon are splendid farceurs. So is the energetic Adam Wylie, playing Goat, a wide-grinning but empty-headed farm hand. Tatiana Mac and Teya Patt lend first-rate support in other roles.

Nielsen's nearly nonstop square dances and production numbers keep this hoedown buoyant. Stephen Gifford's picturesque barnyard setting strikes the perfect countrified mood. It's hard to recall a musical that generated so much unapologetically goofy fun.

Presented by and at International City Theatre, Long Beach Performing Arts Center, 300 E. Ocean Blvd., Long Beach. Oct. 14-Nov. 6. Thu.-Sat., 8 p.m.; Sun., 2 p.m. (562) 436-4610. www.ictlongbeach.org.