REVIEW: “Happy Fella” is a warm delight

IL TROVATOREWhen there are witches and wars, kidnappings and children being burned — not to mention a ring full of poison — it is unlikely that everything will turn out happy in the end.

So it is with “Il Trovatore,” Guiseppe Verdi’s famous Italian opera in four acts, one of four offerings presented by the Utah Festival Opera Company this summer.

The drama, however, becomes the perfect vehicle for cast member Arthur Shen (playing Manrico) to soar in his role as the troubadour (Il Travatore). Shen is outstanding, with a strong voice at both ends of his range. In his UFOC debut, Shen displayed a solid, pure voice and was a major presence on stage opening night.

Also a highlight in “Il Trovatore” are the strong ensemble numbers. The most-familiar “Anvil Chorus,” for example, just fills the hall with perfectly balanced strength. Understand that this is no little production, with 35-plus cast members filling the stage on several occasions.

Othalie Graham (Leonora) has an excellent presence on stage. As early Scene II, she emotionally sings of her love for the source of the serenades coming her way. Graham’s voice is emotional and passionate. Carla Rae Cook is memorable as Azucena, an aging witch-like gypsie. She has the look and movements down, though her vocal range faltered a bit early, as she worked through some notes low in the octave.

Too much of the production — at least on opening night — felt a bit pedestrian and uninspired, though Shen continued to lift the other cast members. It remains, however, very watchable and is paced well enough to keep the audience’s interest.

The set design, costuming, lighting and overall production are incredible, the various scenes showing depth and texture that adds to the experience.

Tragic, though it may be.

Grade: B-

THE MOST HAPPY FELLAThe not-often-produced “The Most Happy Fella” ends up having so much heart and soul it just spills off the stage and envelopes the audience.

Add to that the presence of Jo Sullivan Loesser, wife of the show’s composer and a cast member in the intial Broadway production of “Fellas,” and UFOC patrons all felt like they had been wrapped in a warm blanket.

Michael Ballam, UFOC general director and founder, stars as Tony, a lonely, getting-on-in-years farm owner from the Napa Valley in central California. On a trip to San Francisco, Tony leaves a love note for a waitress that has caught his eye. After some correspondence, Rosabella (Beverly Thiele) makes her way to Tony’s farm, presumably to get married.

An accident to Tony and a mistaken identity mix things up a bit on day of her arrival, but Rosabella agrees to marry Tony as he lays stricken on a stretcher. From there, love has a roller coaster ride in their lives and there are just enough songs to get everyone looking toward a better day at the production’s end.

Ballam, who has sprinkled himself in various roles over the 15 years of the UFOC, has never been better than he is as Tony. He has fun with the Italian-immigrant accent, he looks to be absolutely at ease, his voice is strong and familiar. He fits Tony like hand-in-glove, and it shows.

Theile did not take her character by storm on opening night, but grew into it. Early on, her natural vibrato soprano causes her some trouble with the near-speaking parts given to the role. However, as she warms to Tony, the audience warms to her and by night’s end she has opportunity to show her talent with smooth, lilting vocals.

Venessa Schukis, as Marie, Tony’s brother, is immediately a strong presence. Her voice is solid and precise, especially as he sings of her love for Tony in the first act. Mark Walters is outstanding as Joe, Tony’s foreman on the farm, who gets mixed up in Tony’s new love life. Walters is as solid as a new pair of Western boots and patrons find themselves wishing he had more stage time to show off his excellent bass.

A recurring trio of Napa Valley merchants — for the most part singing in Italian — were one of the hits of the opening night, as well. Also notable is Matt Lutz, as Herman. Lutz serves as the jester in the production, with wonderful facial expressions and a strong natural voice that wins over the audience. What he lacks in projection, he makes up for in enthusiasm. Marvin Scott, as the doctor, is commendable and very comfortable on stage.

But it is the heart and emotion of the story and the actors – combined with the sweeping underpinnings of the score – that surround everyone involved in “Most Happy Fella” and makes it memorable.

Grade: A-