It’s all togas and mischief at the Springville Playhouse this month, as Utah’s oldest community theater presents “A Funny Thing Happened on the Way to the Forum.”
A 1990 production of “Forum” broke Playhouse attendance records, and this one is jaunty and energetic enough — if not exactly the most polished show you’ll ever see — to do it again.
Stephen Sondheim’s most tuneful musical is a farce set in ancient Rome. A crafty slave named Pseudolus (Karl Young) desires his freedom and discovers a way to get it. His young master, Hero (Michael Pease), is in love with Philia (Kara Richins), a courtesan in the house of Marcus Lycus (Dane Allred). Pseudolus bargains with Hero that if he can get Philia for him, Hero will grant his freedom.
Philia has already been sold to the great warrior Miles Gloriosus (Daryl Tucker), which means a lot of conniving and weaselling will need to be done — especially with fellow slave Hysterium (John Gholdston) keeping a watchful eye on things while Hero’s parents are away.
It’s an enjoyably naughty show with no other intention than to be funny, which it is. John Gholdston’s Hysterium is a remarkably spry fellow, managing to seem both frantic and doddering at the same time. Michael Pease is appropriately moony and grinning as Hero, with Craig Dunford and Robinne Booth handing in strong performances as his parents.
As Pseudolus, Karl Young is playing a role that usually goes to younger men, but it doesn’t show. His singing voice is not strong (neither are a few others in the show); however, for a comedy role like this, it’s the funny bone that’s important, not a set of golden pipes.
Jeremy Showgren also provides great musical direction and piano accompaniment. The fact that the music is live, even if it’s only one instrument (with a few synthesizer embellishments), adds energy.
The only major mistake in the show is adding in a character named Madamia, Lycus’ mother. It’s unwise to introduce a completely new character into any existing show, but particularly into a farce that’s already as tightly written as “Forum.” In this case, Madamia merely stands around in each group scene, hollering to her son. She adds absolutely nothing — and to those who have seen the show before, she’s an annoyance, if for no other reason than that she’s just not supposed to be there.
But the theater’s intimate setting lends itself to the cast’s desire to mug to the audience and ham it up as much as possible. Don’t be surprised if characters address you directly while singing, or even physically harass — er, interact with — you on their way in and out. The up side of the close proximity is that when a freshly bathed Senex declares he smells great, the audience knows he’s speaking the truth. A show that smells as good as it looks is never a bad thing.