‘Robber Bridegroom’ Sings a Different ‘Toon in Brea

BREA — An actor friend recalled being interviewed by a young casting director for a television role. He was asked whether he could do a “hillbilly” accent. The actor replied, “Do you want a real accent or a Hollywood accent?”

Director Gary Krinke has opted for the latter style in his staging of Alfred Uhry’s and Robert Waldman’s “The Robber Bridegroom,” in the vein of “The Beverly Hillbillies” or “Li’l Abner.”

The members of his cast, for the most part, are cartoons, with round black smudges on their faces and lipstick smeared messily. The cost of blacking out their teeth must be one of the production’s major expenses.

Uhry, who wrote the book and lyrics (Waldman did the music), also wrote “Driving Miss Daisy,” and his writing does not get its laughs at the expense of the late 18th century mountain folk (originated in a novella by Eudora Welty). Welty treated the characters with respect.

The result in the Prism Productions effort at the Curtis Theatre in Brea is a show funny in its overboard way but that doesn’t have the charm, nor the magic of regional memory, that “Robber Bridegroom” has had in many productions.

This staging has all the depth and richness of a “Hee Haw” sketch. The proof is in the uncomfortable fact that the lovely ballads look and sound as though they’re from another show.

On its own level, Krinke’s concept works well enough. It just doesn’t provide the audience with all the shadings and warm colors it could have.

Krinke gives the show a brightness and sparkle that pleases its audience, and choreographer Bill Lett knows the antecedents of the clog-dancing that still thrives in the rural South. Sharell Martin’s costumes are as cartoon-oriented as Krinke’s concept, but Wally Huntoon’s setting is effective, and Jo Monteleone’s musical direction is energetic and has a good country edge.

Welty’s story is based on tradition. Handsome Jamie Lockhart (Sean Tamburrino), who rubs berry stains on his face and becomes the notorious Robber of the Woods, falls in love with a forest girl named Rosamund (Cindy Acevedo), whose clothes he has stolen.

As the Robber, he lusts after her in his cabin. As Jamie, he is proposed by her wealthy father as the man to be Rosamund’s husband. But Rosamund only wants the sexy Robber and acts crazy to discourage Jamie. Jamie wants the wealthy daughter for her money but only wants to frolic with the naked girl in the woods. It’s a tale as old as the Natchez Trace, throughout which the action takes place.

Tamburrino is a stalwart Jamie, Acevedo a vibrant Rosamund, and both handle their chores pleasantly and with dash. Jim Shine, as her father, and Arlyn McDonald, as her very wicked stepmother, fit well into Krinke’s concept, but vocally McDonald doesn’t have the rough-hewn, homespun raucousness her songs require.

In supporting roles, Steve Glaudini, Brian Kojac and Ryan Holihan are also good, but lose a lot of the flavor through mugging, gawking and, along with the ensemble, maintaining a juvenile concept of how simple country folk walk and move.

* “The Robber Bridegroom,” Curtis Theatre, 1 Civic Center Drive, Brea. Thursday-Saturday, 8 p.m.; Sunday, 2 p.m. Ends May 12. $7-$17. (714) 990-7722. Running time: 2 hours, 5 minutes.

Sean TamburrinoJamie Lockhart

Jim ShineClement Musgrove

Cindy AcevedoRosamund Musgrove

Arlyn McDonaldSalome Musgrove

Steve GlaudiniLittle Harp

Brian KojacBig Harp

Ryan HolihanGoat

A Prism Production of the Alfred Uhry and Robert Waldman musical adaptation of Eudora Welty’s novella, produced by Mary Engwall. Directed by Gary Krinke. Musical direction: Jo Monteleone. Choreography: Bill Lett. Scenic design: Wally Huntoon. Lighting design: Gene Schutt. Costume design: Sharell Martin. Stage manager: Colette Naffas.