[NEohioPAL] Berko review: LI'L ABNER @ Mercury Summerstock

[Roy Berko]

‘LI’L ABNER’ cute but lacking at Mercury Summerstock

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview 
Times

COOLCLEVELAND.COM

This month the U. S. Postal Service issued it’s “funnies” series.  The stamps 
honor the likes of Archie, Dennis the Menace, and Calvin and Hobbes.   
Unfortunately, missing from the list are two comic strips that led to Broadway 
musicals:  Little Orphan Annie and Li’l Abner.  A version of the latter is now 
on stage at Mercury Summer Theatre.

‘LI'L ABNER,’ with book by Norman Panama and Melvin Frank, music by Gene De 
Paul, and lyrics by Johnny Mercer is a satirical look at the inhabitants of 
Dogpatch, USA (Kentucky).  The comic strip, written and drawn by Al Capp, ran 
from August 13, 1934 through November 13, 1977.  The Broadway production, 
directed and choreographed by Michael Kidd opened on November 15, 1956 and ran 
for 693 performances.
The somewhat dated musical is a  spoof of hillbillies but also points zingers at 
the incompetent federal government, corrupt politicians, and perceptions of 
masculinity.

Just before the traditional Sadie Hawkins Day race when Daisy Mae is again 
“yurnin’ to ketch” the handsome, muscle bound, emotionally void Li’l Abner, 
Dogpatch is declared the "most unnecessary town" in the U.S. and is set to be 
turned into a nuclear testing site.  The only thing that will save it is to 
locate something that makes the area a national treasure.  Of course, in the 
end, as is true of all musical spoofs, things “turns out fer the best.”  

Besides Li’l Abner, whose family name, “Yokum,”  cartoonist Al Capp conjured up 
by combining “yokel” with “hokum,” and Daisy Mae, she who gave the signature 
name to short-shorts, all the well known comic strip’s characters are present 
including Mammy and Pappy Yokum, Marryin’ Sam, Earthquake McGoon, Evil Eye 
Fleagle, General Bullmoose, Stupefyin’ Jones and Senator Phogbound. 
The original Broadway cast starred Peter Palmer in the title role, Edie Adams as 
Daisy Mae, and the marvelous Stubby Kaye as Marryin' Sam. A film based on the 
stage musical was released in 1959, with most of the Broadway cast reprising 
their roles.

The clever words and the catchy music include “A Typical Day,” “If I Had My 
Druthers,” “The Country’s in the Very Best of Hands,” and the cute ballad, 
“Namely You.”

The Mercury production, under the direction of Pierre-Jacques Brault, has many 
creative moments and some right-on performances.  However, to make this show 
work, the staging and attitude must be one of comic strip level farce and 
attitude.  No tongue and cheek here.  Out-and-out comic mayhem must let loose, 
as was the case with the Broadway production.   Unfortunately, though the 
performers try, the Mercury cast just doesn’t make the show explode.

When I saw the show in the Big Apple, my feet were constantly tapping and I had 
a feeling of total glee.  In the Mercury production I smiled and appreciated the 
many creative moments conceived by Brault, but I wanted more.  I wanted more of 
what Brian Marshall created with his over the top Pappy Yokum.  Though they gave 
good performances, I still wanted even more exaggeration from Kelvette Beachman 
as Mammy Yokum and Dan DiCello as Marryin’ Sam.   We needed a more stupefying 
Stupefyin’ Jones and more macho braggart Earthquake McGoon.  Why did Evil Eye 
Fleagle, whose quirky actions were well developed by Jonathan Ramos, have a 
Russian accent?  Capp said of the character, “The zoot suit-clad Fleagle was a 
native of Brooklyn, and his burlesque New York accent was unmistakable.”

Jason Leupold has the face, hair, height and the singing voice for Abner, but he 
lacked the physique and vulnerable manhood.   Leupold gave us sweet boyhood. 
Annie Hickey had the Daisy Mae look, except for the ill coifed wig.  Her voice 
was a little shallow but she developed a charming rendition of “I’m Past My 
Prime,” with Marryin’ Sam.  The male chorus sang and danced well, but didn’t fit 
the part of super studs when they were supposedly transformed into 
Abner-duplicates by Mammy’s potion.  

Fun numbers were “Jubilation T. Cornpone” and “Progress Is the Root of All 
Evil.”  On the other hand, “The Sadie Hawkins Day Ballet” went on and on and on, 
wearing out the cast and the audience.

As usual, Musical Director Eddie Carney did a great job of keeping his 
well-tuned orchestra under control so they backed up, rather than drowned out 
the singers.

CAPSULE JUDGEMENT:  Mercury’s ‘LI’L ABNER’ is a pleasant evening of diversion, 
but could have been so much more fun if it had been played even broader and the 
cast had really let loose.

‘LI’L ABNER’ runs through July 24 in the Brooks Theatre at the Cleveland Play 
House.  For tickets call 216-771-5682 or go to mercury summerstock.com

Mercury’s final summer offering will be ‘THE SCARLET PIMPERNELL’ from August 6 
through the 21 at 7:30.
 
Roy Berko's blog, which contains theatre and dance reviews from 2001 through 
2010, as well as his consulting and publications information, can be found at 
http://royberko.info
His reviews can also be found on www.coolcleveland.com and NeOHIOpal (to 
subscribe visit http://mailman.listserve.com/listmanager/listinfo/neohiopal.)