Community troupe brings satirical comic strip to the stage

HARD TO SWALLOW- Pappy Yokum (Roger Krevenas) watches as Mammy Yokum (Cathy Beckstead), with spoon, wants Li'l Abner (Jeremy Hanna) to take his medicine in Camarillo Community Theatre's production of "Li'l Abner." Far right, Daisy Mae (Keaghlan Bier) gives moral support. One of the most successful comic strips of all time, Al Capp's "Li'l Abner" was, at its peak, read by an estimated 60 million Americans. The Broadway musical, which made its debut in 1956, came at the height of its influence.

The show is rarely seen today because the comic strip has been gone for 30 years and producers believe that those unfamiliar with the characters would not be interested. However, the Camarillo Community Theatre has brought back the colorful citizens of Dogpatch, U.S.A., in a raucous and funny production that continues through July 29.

"Li'l Abner" was the "Doonesbury" of its time, satirizing politics, public figures and societal quirks for more than 40 years. In 1956, "Li'l Abner" finally made it to Broadway, becoming the first successful musical based on a comic strip.

Other comics followed "Abner" to the stage, including "Annie" and "You're a Good Man, Charlie Brown," but the bite and wit of "Li'l Abner," combined with its marvelous score, helped it become second to "My Fair Lady" as the top show of the season, running for nearly 700 performances.

It's true the story is contrived and patently ridiculous, especially if one isn't familiar with the characters. The main plot deals with the voluptuous but innocent Daisy Mae's romantic pursuit of the slowwitted but lovable hulk Abner Scraggs. The writers, however, introduced various subplots dealing with the government's designation of Dogpatch as the country's "most unnecessary community" and a perfect site for nuclear testing, a topic frequently in the headlines during the 1950s.

Writers Norman Panama and Melvin Frank accurately captured the spirit of the comic strip, with a marvelous score composed by Gene DePaul and Johnny Mercer and choreography by Michael Kidd. The show made stars of future TV icons Julie Newmar and Tina Louise and earned Edie Adams a Tony for her portrayal of Daisy Mae.

In Sunday's performance, Jeremy Hanna and Keaghlan Bier were perfectly cast as Daisy and Abner; both resemble Capp's indelible lead characters. Of the show's many supporting characters, of special note were Philip Wieck as the glib preacher Marryin' Sam, Jeff Frohwein as the prissy scientist Dr. Rasmussen T. Finsdale and Derek Foster as the avaricious buffoon, General Bullmoose.

Many of Dogpatch's other citizens, as colorfully named as those in Charles Dickens' novels, come to life, from vixenous sirens Stupefyin' Jones and Moonbeam McSwine to feisty Mammy Yokum and the resident villain, Earthquake McGoon.

Musical highlights include Marryin' Sam's historical explanation of the exploits of Dogpatch founding father "Jubilation T. Cornpone," a song that is the most whistleworthy in the score, plus the ingenious duet sung by Sam and Daisy Mae, "I'm Past My Prime." The song "Put 'Em Back" best exemplifies Georgia-born Johnny Mercer's talent for Southern regional wordplay.

"Progress is the Root of All Evil," (not credited in the program) sung with gusto by Derek Foster, is Al Capp's satirical swipe at conservative political thinking (in later years, Capp did a political about-face, becoming an outspoken conservative himself).

Although music director Zack Spencer could not attend rehearsals and performances, in the true "the show must go on" spirit of Broadway, he did provide a serviceable prerecorded score.

It would have been wonderful to see Kidd's foot-stomping dance numbers as they were originally designed, but this is an amateur production, and choreographer Jeff Wallach did a good job adapting the basic elements of the routines so none of the performers appeared to be overwhelmed. The rousing finale of the first act, depicting the Sadie Hawkins Day race, was a sizzling highlight of the show.

As for the show's relevance a half-century after its debut, its mentions of '50s icons such as actress Kim Novak, columnist Drew Pearson and entertainer Tennessee Ernie Ford would be alien to today's audiences. But its themes of political corruption, nuclear proliferation and magical tonics that grow muscles but reduce male virility (steroids!) can certainly be understood in the 21st century.

With shows like "Li'l Abner" still around, maybe "The Simpsons" will be Broadway's next comics entry.

"Li'l Abner" runs through Sun., July 29 at the Camarillo Community Theatre, playing Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. For information, call (805) 388-5716.