Comical 'Li'l Abner' relates well to today
Wednesday, June 29, 2005
By Sue Merrell
The Grand Rapids Press

Augusta's Barn Theatre has moved to Dogpatch. Naive Li'l Abner, wiry Mammy Yokum, devoted Daisy Mae and all the rest of the characters from Al Capp's popular comic strip took over the theater Tuesday night in the musical "Li'l Abner."

Although it's been 70 years since the late cartoonist created Dogpatch, USA -- and almost 30 years since he retired the "Li'l Abner" comic strip -- his crazy characters are as lovable as ever, and his social commentary surprisingly fresh.

With music by Gene de Paul and lyrics by Johnny Mercer, the 1956 musical sounds more like upbeat '50s pop than country hoedown tunes. The catchy melodies offer plenty of ensemble singing and dancing that suits the Barn's large company of talented interns.

Director Charlie Misovye has staged the show on a cartoonish set, with drawings of props such as a pig or a can of worms in the heavily outlined cartoon style. Actions and expressions were exaggerated, especially in the animated Sadie Hawkins Day race.

Rockford native Guy LeMonnier led the cast as the hunky hillbilly Abner, who'd druther fish than get hitched to Daisy Mae. Though his baritone is as strong as his physique, the highlight of LeMonnier's performance was his comic expressions, especially his wide-eyed cluelessness.

Misovye also has staged humorous business, such as Pappy jumping into Abner's arms or Abner carrying Daisy Mae in one arm and an anvil in the other, to emphasize the character's bulk.

Penelope Alex is completely transformed into the irascible Mammy, appearing much older and shorter, thanks to makeup and a continually bent and bow-legged stance. She is joined by Anthony Christian as the equally crouched Pappy.

A packed audience of about 500 applauded Barn favorite Scott Burkell when he walked on stage as Marryin' Sam. Burkell led the show's catchiest number, "Jubilation T. Cornpone," and did great duets with Abner and, later, with Daisy Mae, portrayed by sweet-voiced Kelley Brae.

Among the other standout performances were Eric Parker's Southern senator Jack S. Phogbound, Joe Aiello's temperamental General Bullmoose, Erin Elizabeth Coors' high-pitched Appassionata Von Climax, Ryan Stutz's fluid movements as Evil Eye Fleagle and Jake Stackhouse's thundering Earthquake McGoon. As the story unfolds, the residents of this Southern rural town are excited to learn the government has selected Dogpatch as the most unnecessary place in the country. The government plans to make Dogpatch a nuclear testing site -- until scientists decide to test the Yokumberry tonic, which has made Abner such a fine physical specimen.

The scientists' comments about chromosomes and cloning in "Oh, Happy Day" seem strangely prophetic. And after Abner and Sam visit Washington, D.C., they return to report "The Country's in the Very Best of Hands," a tongue-in-cheek song about rising national debt and congressional moratorium that sounded current to today. Even General Bullmoose's comment about problems with Social Security seems apropos.

After all, the basic plot is the government's right of eminent domain, a subject recently considered by the U.S. Supreme Court. And the skimpy shorts and bare midriffs of the Dogpatch dames seem much more in tune with Britney Spears styles than Depression era fashions.

There are a few references to long-faded movie stars and the Cold War that seem a little dated, but, overall, "Li'l Abner" is a timeless, fast-paced tale that gives all the Barn's talent a chance to shine.

Capp characters live at Barn

Published: Thursday, June 30, 2005 -- The Truth, D6
By Marcia Fulmer, Entertainment Editor

AUGUSTA, Mich. -- More than 70 years ago, cartoonist Al Capp created a community -- and its population -- for a comic strip titled "Li'l Abner."

Dogpatch and its inhabitants made it to the Broadway stage ('56) and the movie screen ('59) and, since then, have continued to pop up periodically on stages -- primarily summer stock and high schools -- throughout the last five decades.

Excellent work by leading players, Dogpatch-style costumes and makeup, Doug Blickle's scenic design a la Capp and an ensemble that never slows are the keys to the production that opened Tuesday evening at The Barn Theatre.

It would not, however, be "Li'l Abner" without the perfect leading man. This is not to say that Guy LeMonnier is Abner-dumb, but that he is smart enough and talented enough to create the wide-eyed, America-loving, innocent believably, walking the slim line between naive and stupid with classically comical ease. His flexible features say it all.

Last season, LeMonnier was Gaston in The Barn's "Beauty and The Beast" and they have a real gem in this Rockford, Mich., native. He sings as befits a leading man and, aided by Abner's traditional well-fitting overalls and mile-high black wig, is every stalwart inch the object of Daisy Mae's unwavering devotion. And his comic timing doesn't hurt, either.

Surrounding the Dogpatch hero are, of course, Mammy and Pappy Yokum, recreated energetically to wonderful comic strip-T by Penelope Alex and Anthony Christian; lovely Kelley Bray as true blue (and fearlessly barefoot) Daisy Mae Scragg; bearded and burly Jake Stackhouse as Earthquake McGoon; Joe Aiello as subversively sneaky General Bullmoose; Eric Parker as inflated blowhard Sen. Jack S. Phogbound; and delightfully versatile Scott Burkell as Marryin' Sam.

The duo numbers between Abner and Sam are fast-paced highlights. They expertly deliver the marvelous Johnny Mercer lyrics which are, after more than 50 years, still right on target, taking aim at crooked politicians, devious military men, cowardly heroes and the exploitation of a unquestioning, sheep-like population.

For fans of the Capp comic strip (which ended officially in '77), the Dogpatch population will bring back a lot of memories. The citizens are all there: Moonbeam McSwine and her perennial pig; the scruffy, scurrilous Scraggs; the mesmerizing Stupefyin' Jones and her promoter, Available; Evil Eye Fleagle of the triple whammy (in Riddler-like green); avaricious Appassionata Von Climax; Lonesome Polecat and Hairless Joe of Kickapoo Joy Juice fame; plus a wide variety of mis-matched Dogpatchians and uptight Washington scientists.

The score, with music by Gene de Paul, contains some lovely -- and surprisingly familiar -- melodies including "If I Had My Druthers," "Namely You" and "Love in a Home." Unfortunately, in several spots, harsh brass work doesn't help.

One flaw is a lack of judicious cutting. This "Li'l Abner" goes on and on and on. A number of musical reprises and dance numbers could be excised or, at least, shortened, to the benefit of the entire production. The "Sadie Hawkins Day" ballet is endless and, after the first few cross-stage chases, very repetitious. Static staging in many scenes tends to slow the proceedings rather than, as needed, moving them quickly along.

Nevertheless, the company works hard to keep the energy level up and Capp fans will be happy to know that, even by the final curtain, Li'l Abner still has not said "I do."

Contact Marcia Fulmer at mfulmer@etruth.com.

Barn's well-done 'Li'l Abner' full of hijinks

Christopher Tower
The Enquirer

AUGUSTA - Back in Depression-era America, Al Capp's "Li'l Abner" comic strip about the hillbillies of Dogpatch, U.S.A. struck a chord with the American people, quickly becoming the greatest comic strip of all time.

And though we need only tune into Fox's "The Simple Life" to see just how much hillbilly humor has lost its panache, the cast and crew of the Barn Theatre continue to prove why their 60th anniversary season may be the best in years with a rip-snorting, knee-slapping production of "Li'l Abner, the musical.

John Steinbeck once called Al Capp "the best writer in the world." Notables like John Updike, Charlie Chaplin and John Kenneth Galbraith greatly admired Capp's comic strip.

And though the musical scripted by Norman Panama and Melvin Frank, with music by Gene de Paul and lyrics by Johnny Mercer is showing its age with 50-year-old references and now passé low-brow humor.

The Barn company, though, re-energizes the show like a vintage artist restoring an antique car. The 2005 Barn company continues to demonstrate that with great salesmanship and oodles of energy, any show can become the most fun a person can have at the theater and remain sitting still.

Though dated, "Li'l Abner" remains a satisfying mixture of hillbilly hijinks and biting criticism that appeals to sophisticates as well as children of all ages.

The story shares the exploits of the citizens of Dogpatch, U.S.A. when Senator Jack S. Phogbound (Eric Parker) announces that the government has named their town the most unnecessary place in America and an evacuation is ordered to clear the town for atomic bomb testing.

At first excited to see the world, the townspeople of Dogpatch decide to fight the orders when they learn that the evacuation will take place before the annual Sadie Hawkins Day race, when Daisy Mae (Kelley Bray) plans to catch her sweetheart Li'l Abner Yokum (Guy LeMonnier).

Mammy Yokum (Penelope Alex) saves the town from extinction by demonstrating the uses of her Yokumberry Tonic, which has made her son, Abner, a muscle-bound hunk.

Sped off to Washington for further testing, the greedy General Bullmoose (Joe Aiello) soon wants to control the potion and make billions. When Abner won't sell it to him, Bullmoose uses Appasionata Von Climax (Erin Elizabeth Coors) and Evil Eye Fleagle (Ryan Stutz) to trick Abner and then kill him.

The show takes further plot twists and turns expertly rendered by a cast that works like a single organism in perfect synch with the directing brilliance of Charlie Misovye.

The songs are so catchy and peppy that they're likely to get stuck in your head. Abner and Daisy's gentle duet, "Namely You," is endearing and funny. "If I Had My Druthers" is the best bachelor tune in musical theatre, and "Jubilation T. Cornpone," sung expertly by Scott Burkell, is a showstopper.

General Bullmoose's "Progress is the Root of All Evil" shows off Aiello's comic range and the political satire "The Country's in the Very Best of Hands" joins LeMonnier and Burkell for a simpatico duet.

Burkell brings his usual comic excellence to the role of Marrying Sam, and though LeMonnier is not as over-the-top hilarious as he was as Gaston in last year's "Beauty and the Beast," he's solid.

Alex redefines the meaning of versatility in acting with a performance so out of her norm as Mammy Yokum that she's amazingly unrecognizable. She's well complemented by Anthony Christian (Pappy Yokum), one of the stand-outs of this year's apprentice troupe.

Jake Stackhouse provides standout work as Earthquake McGoon. Erin Elizabeth Coors not only improves on a role played by Tina Louise, but in the bar show she belts out a solo of "I'm Changing" with such passionate intensity that any questions of her talent are now moot.

Production values for "Abner" are high with quick-changing, cartoony sets by Doug Bickle and colorful costumes by David Hermosillo and John Kristianson.

David Ames contributes expert musical direction, and Misovye's choreography, like his stage direction, is impeccable.

Patrons who really want to see what's so special about the Barn's 60th anniversary season must stop off at the musical revue in the rehearsal shed lounge after the mainstage production.

In addition to Coors' powerful solo, Misovye has concocted an inventive phone set including "Ring My Bell" for the second set, and the third set features Sarah Roussos, Cecily Smith, Jana DeBusk, and Megan K. Wean who pull a poor, unsuspecting man out of the audience for a rousing version of Toni Basil's "Hey, Mickey."

Four out of five audience members agreed it's the best bar show so far this season, and added to a high-energy, funny, lovable production of "Li'l Abner," it makes for a fun night of theater.

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